Breaking Down Every Solo Act From BTS: Singles, Debut Albums & What's Next For The Septet
In 2022, BTS announced that the group would take a break as they enlist in South Korea's mandatory military service. The solo careers of Jin, Suga, j-hope, RM, Jimin, V and Jung Kook have launched a new era for the K-pop superstars.
No one can deny that South Korean boy group BTS is a phenomenon. Since their debut in 2013, the septet formed by Jin, Suga, j-hope, RM, Jimin, V and Jung Kook have broken barriers and prejudices against Asian artists, reached notable milestones, and brought together one of the world’s most devoted fandoms — known as ARMY.
Their relatable lyrics discuss societal issues and the pressures of growing up, while their intricate storytelling blends art classics, pop culture, and Korean heritage into something entirely new. BTS also offer a wide-range of musical genres — from hip-hop disses like "Mic Drop," to heartfelt ballads like "Spring Day" and feel-good bubblegum pop like "Butter." Regardless of any opinions, it’s impossible not to be in awe of their oeuvre.
Taking all that in consideration, it’s not surprising that BTS have broken numerous album and tour sales records throughout their career — they sold out Wembley Stadium and the Rose Bowl in 2019, becoming the first non-English-speaking, Asian artists to do so, for example. BTS also won a slew of trophies in South Korean and American award shows, including five GRAMMY nominations. For all of their contributions to South Korea’s culture, they also became the youngest recipients of the country’s Order of Cultural Merit in 2018.
BTS is, in some ways, a symbol of something bigger than themselves. An entity capable of uniting people all over the world and transmitting much-needed messages in their music. However, that wouldn’t be possible if the seven humans behind it weren’t as interesting as the whole. Since the beginning, BTS always encouraged its members to develop their own artistry, and all of them released several solos that spotlight their unique talents.
While 2022 brought in the news that BTS would take a break from group activities as they enlist in the South Korean mandatory military service, that meant their solo careers would take on the spotlight, launching in a new era. From Jin’s "The Astronaut" to Jung Kook’s "Dreamers," GRAMMY.com breaks down all of BTS’s solo releases so far.
Jin isn’t just "Mr. Worldwide Handsome," as he became known for his good looks. The eldest member of BTS is also a competent vocalist, whose soothing voice gave life to three solo songs under the group’s roster: 2016’s "Awake," 2018’s "Epiphany" and 2020’s "Moon."
The Anyang-born singer also contributed to the band’s SoundCloud with the co-written and co-composed tracks "Tonight" and "Abyss." The former, released in 2019, was inspired by the deaths of Jin’s dog and two sugar glider pets. Released in 2020, "Abyss" dealt with his fears and anxieties. "I want to find you and tell you/Today, I want to get to know you even more, yeah," he sings.
In 2021, Jin was chosen to sing "Yours," the main theme of TvN’s drama "Jirisan." However, the real highlight of that year was "Super Tuna," a short song made for kicks and giggles that wemt viral on YouTube and TikTok.
As the eldest of the group, Jin was also the first to enlist in the military in December of 2022. Shortly before that, he graced fans with his official solo debut single, October’s "The Astronaut." Co-written alongside Coldplay, the track placed No. 51 on the Billboard Hot 100; Jin performed the song in Buenos Aires, during the British band’s Music of the Spheres World Tour.
One of BTS’ main songwriters, producers, and rappers, Suga is a prolific artist with a keen view about the world that we live in. Born in the city of Daegu, he began as an underground rapper and initially joined Big Hit Entertainment as a producer. Eventually, Suga became a trainee along with the other members.
Since BTS' debut in 2013, he contributed as a songwriter to the majority of their material, as well as producing and featuring in tracks by other artists such as Halsey’s "Suga’s Interlude," PSY’s "That That," and IU’s "Eight." He released five solo tracks as part of the group’s discography: 2015’s "Intro: The Most Beautiful Moment in Life" and "Intro: Never Mind," 2016’s "First Love," 2018’s "Trivia: Seesaw," and 2019’s "Interlude: Shadow." Each release revealed his talent as a poignant storyteller on the ups and downs of growing up, dealing with fame, and remaining hopeful amid storms.
Concomitantly, he formulated the alter ego Agust D and released two solo mixtapes — 2016’s Agust D and 2020’s D-2. His first studio album under the alias, April’s D-Day, was said to conclude the explosive, evocative trilogy that dealt with themes like anger, vengeance, and pain. Suga is also the first BTS member to headline his own tour, which is happening throughout May and June in the U.S. and Asia.
Rapper j-hope was born in the metropolis of Gwangju, where he became known for his dancing skills. His interest in rapping, though, only came once he moved to Seoul and became a trainee under Big Hit Entertainment, where felt inspired by teammates Suga, RM, and producer Supreme Boi.
J-hope gradually developed his skills and became one of BTS' main songwriters, releasing three solo songs: 2016’s "Intro: Boy Meets Evil" and "Mama" and 2018’s "Trivia 起: Just Dance." Also in 2018, j-hope released his buoyant solo debut mixtape, Hope World. The album peaked at No. 38 on Billboard’s 200 chart, turning him into the highest charting Korean soloist at the time. In 2019, he collaborated with Becky G on the hip hop track "Chicken Noodle Soup."
Following the announcement that BTS would be taking a break from group activities in 2022, j-hope was the first member to begin solo promotions. Jack in the Box, his first solo album, came out on July 15, and just 16 days later he became the first South Korean artist to headline Lollapalooza.
As of April, j-hope is currently enlisted in the military, but he left fans a special single to savor while they wait for his return: March’s "On the Street," featuring rapper J. Cole.
RM has often been the group’s main spokesperson and producer. Through his work, he earned a stellar reputation both inside and outside of South Korea, collaborating with artists such as Fall Out Boy, Lil Nas X, Younha, Tiger JK, and Erykah Badu.
Born in Seoul, RM was a trainee under Big Hit Entertainment for three years before debuting, where he honed his songwriting skills in pre-debut tracks and cuts for other K-pop groups. As part of BTS, the gifted singer and rapper released a few solos: 2013’s "Intro: O!RUL8,2?," 2014’s "Intro: What Am I to You?," 2016’s "Reflection," and 2019’s "Trivia: Love" and "Persona."
He was also the first member of the group to release a solo mixtape, 2015’s RM, which showcased his distinct flow and honest self-reflections about rage and the contradictions of fame. In 2018 came his introspective, minimalistic second mixtape, Mono. Although just as honest about his emotions as the first one, Mono showcased a more pensive, or rather matured, side of RM.
In December 2022, he released his much-awaited debut studio album, Indigo. Described as "the last archive of my 20s," RM continues his thoughtful reflections on what it means to make art and to be human, settling himself as one of today’s most intelligent minds.
Jimin always made an impression through his elegant dance moves and distinct falsettos, giving an aesthetic flair to all of BTS’ releases. The Busan-born artist also showcased more of his talents through three solo tracks under the group’s name: 2016’s "Lie," 2017’s "Serendipity" and 2020’s "Filter."
In 2018, he released his first credited solo song, "Promise," followed by "Christmas Love" in 2020. That same year, Jimin collaborated with close friend and singer Ha Sung-woon on "With You," the soundtrack to TvN’s 2022 drama "Our Blues," and in January 2023, he co-wrote and featured on Big Bang member Taeyang’s single, "Vibe."
In March, Jimin released his long-awaited debut EP, Face. Its single, the synth-pop tune "Like Crazy," topped the Billboard Hot 100 chart, making Jimin the highest-charting Korean soloist of all time.
V’s baritone, husky voice is one of BTS’ most prominent elements, giving depth and texture to their songs. Like Suga, he was born in Daegu and dreamed of becoming a singer. After debuting with BTS, he released three solos under their name: 2016’s "Stigma," 2018’s "Singularity" and 2020’s "Inner Child."
On the group’s SoundCloud, he has slowly developed his own tracks. In 2019, he issued the self-composed ballad "Scenery," and later the all-English "Winter Bear." He also contributed to a few drama soundtracks along the years, most notably 2020’s "Sweet Night," off JTBC’s Itaewon Class, and 2021’s "Christmas Tree," off Studio N’s Our Beloved Summer.
Although V has been teasing an official mixtape for some time now, there is still no indication of when it will be released.
At 25 years old, Jung Kook is the youngest member of BTS. Like Jimin, he was born in the coastal city of Busan, but moved to Seoul as a teenager to pursue his dreams of becoming a singer. In "Begin," his first solo song released on BTS’ 2016 album Wings, he sings about how the group was largely his introduction to life: "When I was 15 years old, I had nothing/The world was too big and I was small."
Later came 2018’s "Euphoria" and 2020’s "My Time," off BTS’ Love Yourself: Answer and Map of the Soul: 7, respectively. Also in 2020, he released "Stay Alive," the main soundtrack to BTS-based webtoon 7Fates: Chakho. He also publishes occasional solo work via Twitter, including the fan-loved "Decalcomanie," or SoundCloud, where he released "My You" and "Still With You" — the platform’s Most-Streamed Pop Song in 2022, despite being released in 2020.
Last year, Jung Kook explored international collaborations. He participated in Charlie Puth’s pop hit "Left and Right," and released "Dreamers" for the 2022 FIFA World Cup, later performing it at the opening ceremony of the event. With that, he became the first South Korean artist to release an official FIFA World Cup song.
While Jung Kook has mentioned that he intends to release a mixtape one day, it’s still a mystery whether it will happen anytime soon. But judging through his output so far, he has proven to be more than ready to let the world get to know his artistic colors in full — just as all his bandmates have.
Photos: JTBC PLUS/ImaZinS Editorial; RB/Bauer-Griffin/GC Images; Emma McIntyre/Getty Images for Coachella; JTBC PLUS/ImaZinS Editorial
K-Pop's Hip-Hop Roots: A History Of Cultural Connection On The Dancefloor
Although they might seem like disparate genres today, K-pop and hip-hop go way back. In honor of hip-hop's golden anniversary and K-pop's ever-growing popularity, GRAMMY.com explores the links between the sounds.
Although they might seem like disparate genres today, K-pop and hip-hop go way back. Their link can be traced to a single nightclub in Korea: Moon Night.
Located in Seoul's Itaewon neighborhood, Moon Night wasn't particularly remarkable among the many other bars catering to tourists and American servicemen at the nearby military base. However, in the late '80s and early '90s, the club was ground zero for the genesis of the nation’s first K-pop group and the founding of the country’s "Big 3" music entertainment labels.
Moon Night is so crucial to the development of K-pop as we know it today because the club played music beloved by its target clientele: Americans. And in the midst of hip-hop's golden age, hip Korean audiences got hooked.
Over decades, that connection to hip-hop has developed and evolved to create the juggernaut that is contemporary K-pop. Today, the influence of hip-hop can be seen in K-pop dance, dress and even instrumentation.
Pioneering K-Pop On The Dancefloor
Where nightlife in Korea was long separated by nationality — Korean citizens had their own establishments, as did U.S. military personnel — a new kind of integrated club scene blossomed in the 1990s. For the first time, Koreans could legally patronize the same bars as American G.I.s.
Around 1 a.m., clubs like Moon Night would transition from a "normal Korean club" to a foreigner haven, recalls Dr. Michael Hurt, an Assistant Professor at the University of Suwon's International College.
That Moon Night became the Ur of K-pop as we know it was chiefly because Black American soldiers patronized the club, which played hip-hop. As Koreans and Black soldiers socialized, a new culture of hip-hop dance, or "rap dance," and music grew. Dr. Hurt experienced the eagerness with which young Koreans learned hip-hop moves while visiting Moon Night in the '90s.
Dr. Hurt — who is Black and Korean and has been living in country for various periods since the mid-'90s — recalls clubgoers asking to dance with him. They would follow along with every step. While hip-hop music was important to the progenitors of K-pop, Koreans at the time were most fascinated by dance moves, and the emphasis on dance remains an important aspect of K-pop today.
By the early '90s, hip-hop had begun to egress its original audience and evolve into a new form. The cross-cultural connection happening at Moon Night was replicated across Seoul; Dr. Hurt notes that Koreans and Black Americans also found common musical interest at Blue Monkey in Sincheon and Golden Helmet in Hongdae.
Future K-pop heavy hitters like Yang Hyun-suk of YG Entertainment, Park Jin-young of JYP Entertainment, and Lee Soo-man of SM Entertainment were rumored to have patronized Moon Night. However, Dr. Hurt theorizes that if they were in the club scene they also visited other places too.
K-Pop's First Generation Of Stars: Born At Moon Night, Shared Online
While hip-hop was largely inaccessible to Koreans in the 1990s, there were always dedicated Korean listeners. This young, niche community consisted of members like Seo Taiji, who brought rap dance to the public and became K-pop's first stars.
Seo Taiji and Boys reportedly learned how to dance from Black American soldiers at Moon Night. (Yang Hyun-suk, who later on became the founder of YGE, and Lee Juno were the "and Boys" component of the trio.) Their example laid the groundwork for the second generation of K-pop stars.
"[Seo Taiji and Boys] were like gods on earth," recalls Dr. Hurt.
The members became the undisputed purveyors of hip-hop in Korea, utilizing American hip-hop, metal and punk to create a unique musical fusion. The practice of mixing and melding genres is the standard in K-pop to this day.
Seo Taiji and Boys' 1992 performance of "난 알아요 (I Know)" on a competitive TV show struck a chord with the nation's youth, effectively introducing hip-hop to the general public. The performance also filled a capacious hole left in the Korean music industry after the roll back of Emergency Measure No. 9 (which only allowed patriotic or "healthy" songs to be broadcast), which banned hundreds of songs from the likes of Bob Dylan, Johnny Cash and Eric Clapton. Therein, Seo and company brought a new sound to the previously restricted airwaves.
Still, a lesser-known idol predates Seo Taiji and Boys' rise by a couple of years. Once again, Moon Night remains in the backdrop.
If Seo Taiji and Boys is K-pop’s first idol group then Hyun Jin-Young is K-pop’s first solo artist. Though his career was brief, Hyun Jin-Young "is generally credited with bringing hip-hop to the mainstream in Korea," says Dr. Crystal Anderson, Associate Director of Engaged Learning and African and African American Studies at George Mason University. On hits like, "슬픈 마네킹 (Sad Mannequin)," Jin-young sang, rapped, and performed dance moves, such as the Roger Rabbit, over a hip-hop beat. "Without him, you wouldn't have [K-pop] idols, but at the same time, Seo Taiji showed that it could be lucrative and popular."
Artists like Hyun Jin-Young, Seo Taiji, and, later, H.O.T were at the forefront of Korea's "rap dance" scene in the mid-to-late '90s. At the turn of the century, hip-hop culture began to circulate even further via the internet.
"The young hip-hop community [in Korea] has always been pretty hardcore because they had to be to even get enough information to maintain community," Dr. Hurt notes. "[Things] like what are the new fashions, you had to be deep into it."
Youth were largely responsible for disseminating the burgeoning sound of K-pop. "Music is not becoming popular at church. It starts from some kid pirating a CD," says Kirsten Keels, a 2021 Fulbright Korea scholar.
Online, Koreans could explore hip-hop even further. In BTS’ book, Beyond The Story, RM recounted learning about hip-hop through interviews and documentaries about rappers posted on YouTube as a teen. His interest in hip-hop would later cause a ripple effect that would lead him to his current position in BTS.
"Legitimizing" Hip-Hop In K-Pop's Second Generation
By the second generation of K-pop, which roughly begins in 2003, the days of "rap dance" had fizzled out in favor of a distinct K-pop sound. However, hip-hop’s presence in the genre remains in the form of creating a designated rapper in each idol group.
Korean Americans also played a significant role in the "legitimization" of hip-hop and K-pop. "In the early days of K-pop, particularly with the idol groups, you would have one or more members who were Korean American. The idea was they were closer to the source material and therefore it was more authentic," says Dr. Anderson.
This rings true for K-pop groups like H.O.T — Lee Soo-man of SM Entertainment's first massively successful group — and 1TYM, which had Korean American members. Both groups have been cited as inspiration for groups like BTS and 2PM. H.O.T's successful formula became the blueprint for many K-pop groups. They industrialized the K-pop system, much as Motown developed its artists and hit-making processes.
Hip-Hop Artists And K-Pop Idols: Past And Present
Decades after its inception, K-pop and hip-hop acts continue to work together. In 2004, Snoop Dogg and Warren G hopped on Jinusean’s track, "2 All My People." The song's infectiously funky beat made the two rappers' appearance feel seamless.
In 2010, Kanye West was featured on JYJ’s "Ayy Girl" (West also appeared in the music video). And two years later, Psy, who has been a lifelong fan of M.C. Hammer, performed the rapper’s signature dance move next to him at the 2012 American Music Awards.
K-pop and hip-hop royalty came together in 2013 when BIGBANG’s G-Dragon and Missy Elliott gave a mesmerizing performance of "Niliria" on "M-countdown", a weekly music program broadcasted by M-net. It was a legendary moment in K-pop history because it brought together two highly respected rappers from different countries.
One group in particular has a slew of hip-hop collaborations – BTS. It doesn’t come with much surprise, since the septet’s CEO has openly stated "Black music is the base" of their musical identity. BTS and its members have collaborated with the likes of Nicki Minaj, J.Cole, Wale, Desiigner, Juice WRLD, and Lil Nas X (with whom they performed at the 2020 GRAMMYs). Recently, Jungkook, the youngest member of the group, made his solo debut with the song "Seven" featuring Southern rapper, Latto. The song hit No. 1 on the Billboard Hot 100.
In 2017, Jay-Z signed former 2PM leader Jay Park (who takes his name from the multi-GRAMMY winner) to Roc Nation. The following year, Park was seen at Roc Nation’s annual brunch where he snapped pictures with the likes of Beyoncé and Big Sean. His debut EP, Ask Bout Me, featured rappers such as 2 Chainz, Rich The Kid, and Vic Mensa.
Hip-hop’s influence on K-pop runs through the genre’s past, present and future. K-pop and hip-hop artists have always had moments of mutual respect. Even at the most unsuspecting times, the two genres have always found ways to collaborate.
However, the earnestness with which K-pop takes inspiration from hip-hop has understandably been questioned. The topic of cultural appropriation continues to be divisive, and unanimous consensus a rarity. "One person's appropriation isn't necessarily another person's appropriation," says Dr. Anderson.
Lately, the conversation around cultural appropriation in K-pop is commonly in relation to visual signifiers. Instances where K-pop idols have been in the hot seat include but are not limited to: ATEEZ’s Hongjoong wearing cornrows in promo images, BLACKPINK’s Lisa sporting box braids on multiple occasions, and MAMAMOO’s Hwasa donning a durag. While there's often swift backlash from fans, response from record labels is typically delayed — if they acknowledge the uproars at all.
In 2019 and 2020, respectively, former CLC member Sorn posted a picture of someone dressed in a mask that resembled a racist caricature, while Stray Kids' Hyunjin imitated a Korean cartoon character that was reportedly based on Black racial stereotypes. The latter eventually issued an official apology, while Sorn continued to get into hot water — most recently for a photoshoot where she flaunted an afro.
These recent cases are just repeat offenses of longstanding practices. In the '90s, JYPE Founder Park Jin-young put backup dancers in blackface and afros. The Bubble Sisters infamously wore blackface for their debut cover art and corresponding promo pictures in 2003.
BTS' J-Hope raised eyebrows with his remake of Webstar and Young B’s 2006 track "Chicken Noodle Soup." The 2019 track featured Becky G, while J-Hope appeared with a gelled hairstyle that resembled dreadlocks. While the look bordered on appropriation, Young B praised the song in an interview with Billboard.
"People of all cultures know the song," Young B said."[J-Hope and Becky G] made it even bigger for this day and age. I’m very open-minded and I feel like [the remake] is good for the culture. It was created in Harlem, and now it’s a worldwide thing."
"There’s a legit reason for people to be angry because aspects of African American culture have been and continue to be appropriated… the problem with Black popular culture is [it’s] so damn successful," Dr. Hurt says."[It’s] so hyper-successful that in a way you can't make restraining claims on it. I don't think it's at all realistic anymore."
Cases of appropriation can get harder to identify when there seems to be no clear signs of foul
play. RAIN and J.Y. Park’s 2020 duet, "Switch To Me," is redolent of Bobby Brown’s 1988 tune, "Every Little Step." The beat, clothing, and dance moves show that Park Jin-young was inspired by Brown.
"My baseline for a negative appropriation and misappropriation is a racial performance that mocks or demeans," Dr. Anderson adds. "We need to recognize that there's another perspective, not necessarily to excuse some of the more egregious cases of negative appropriation,. We can't use our American racial lens and just put it over this thing and have it make sense because there are other factors at play."
Sometimes the boundaries are pushed too far and are met with legal contention. In 2004, first-generation K-pop group Baby V.O.X released "Xcstasy," utilizing a freestyle Tupac made while incarcerated. The group’s label founder, Yoon Deung Ryong, vehemently denied the rumors that they illegally used the late rapper’s voice and likeness. However, reports from that time failed to corroborate their label’s defenses. In 2020, "Cupid Shuffle" singer Bryson Bernard accused and threatened to sue K-pop group Seventeen for their song "Left & Right" which sounded comparable to his 2007 hit.
Over the past three decades, hip-hop has become part of Korea’s public consciousness resulting in the K-pop we see and hear today. The spark that Black American GIs, Seo Taiji, and hip-hop-loving Korean youth lit has exploded into a billion dollar industry. Although it can come at the cost of misappropriation and well-meaning appreciation, it ultimately shows the influence of hip-hop and Black popular music around the world.
All images courtesy of Artist except Stray Kids (Jun Sato/WireImage via GettyImages) and Twice (JYP Entertainment).
What's Next For K-Pop? A Roundtable Unpacks The Genre's Past, Present And Future
K-pop evolves each year, but what makes it so enticing? And what awaits in the future? GRAMMY.com invited industry leaders, and members of TWICE and Stray Kids, to discuss K-pop's current state, biggest misconceptions, and celebrate its magic.
K-pop recently entered its third decade since pioneers Seo Taiji and Boys upheaved South Korea with 1992’s nonconforming "Nan Arayo" — considered by many the inception of the industry. Propelled by the Hallyu (or Korean Wave, the phenomenon driving international growth and popularity to the country’s cultural exports), K-pop has evolved from a niche genre to a global scene whose influence is felt in music, fashion, business, tech, and many other fields.
Characterized by a strong visual focus, musical innovation that can include anything from reggae to EDM influences in a single song, knife-sharp choreographies, and devoted fandoms, K-pop’s reach outside of South Korea is nothing short of outstanding — if not expected. While mostly known for multi-member boy and girl groups (some with upwards to 10 singers), there are also plenty of soloists, duos, trios, and a few co-ed ensembles, ensuring that even the pickiest music listener can find something to enjoy.
Its idols — as K-pop artists are called — are inspirational, often skilled in singing, dancing, rapping, songwriting, and producing after years of arduous training. Many are fashion ambassadors to high fashion brands (such as BTS’ Jimin for Dior), and several have ventured into acting, modeling, and designing their own collections. Idols remain in touch with global fans through tours, fan meetings, virtual fancalls and social media, including K-pop-specific paid apps, like HYBE’s Weverse and DearU’s Bubble, where they can send direct messages to fans detailing their routines and heartfelt thoughts.
All those factors contribute to the worldwide growth of K-pop. According to the International Federation of the Phonographic Industry, eight of the top 10 global album sales in 2022 were by K-pop acts, including BTS, Stray Kids, and ENHYPEN. For the first quarter of 2023, Billboard reported that stocks from K-pop's largest companies — HYBE, SM Entertainment, YG Entertainment, and JYP Entertainment — have risen an average of 75.1 percent year to date, surpassing both Universal Music Group and Warner Music Group, which each presented a decline.
Ten years after PSY’s 2012 mania "Gangnam Style," K-pop has risen to the upper echelons of the music industry. A BTS music video nominated for A GRAMMY Award (last year’s "Yet to Come"); Fifty Fifty’s viral hit "Cupid" can be heard on the radio; BLACKPINK headlined Coachella and TWICE sold out Los Angeles' SoFI Stadium. Each a feat that seemed impossible not too long ago.
Moving at breakneck speed, K-pop continues to present a new evolution of itself within each year. But what makes it so enticing? And what awaits in the future? GRAMMY.com invited several leaders and luminaries of the industry to discuss its current state, demystify some of its biggest misconceptions, and celebrate its magic.
Quotes from these interviews have been edited for brevity and clarity.
What do you think are the key elements to make a K-pop hit? Have these elements changed throughout the years?
Vince (singer/songwriter/producer under THEBLACKLABEL, an associate company to YG Entertainment): Being a Korean American living in Korea gave me cultural influences that are unique and diverse. With so many creatives from different backgrounds just like mine, I think we’ve been able to make songs that blend all those influences and resonate with not only the Korean audience, but the global audience too. Also, our emphasis on making the right visuals to provide a wholesome experience was a major key to success. I think this approach hasn’t changed and we will continue to do that moving forward.
Marion Van der wees (manager/A&R consultant at VDW Music Group, who placed songs for BTS, TXT, and more): Honestly, nowadays, nobody knows what a hit is. Lots of songs have gone viral in the most surprising ways. Fifty Fifty, who recently debuted, is now topping the global charts with their song "Cupid." However, the ideal recipe for a great K-pop song would be a catchy hook/chorus — which is usually in English so more people can sing it — and a danceable song that can bring on a choreography that is infectious enough so people want to learn them and make TikToks.
Nayeon (singer/songwriter, TWICE member): First, I think we were lucky enough to have amazing songs. "Luck" plays an important role when making a hit. Also, there has to be a concept, choreography, and additional content to support it. I don’t think these factors change with time drastically, but rather our attitudes and minds tend to change.
Adrian McKinnon (songwriter, producer): I think it's important to love what you're working on, period. In any career, there comes a point when a person can just phone in an idea, a letter, a proposal, etc. You may be able to get away with that once or twice, but if you get used to operating in that manner, don't be surprised if you get fewer and fewer calls over time. When you love what you do, you grow. When you float along half-assing your work, you're stagnant.
Wonderkid (songwriter/producer under BELIFT LAB, a label founded by CJ ENM and HYBE responsible for boy group ENHYPEN): It is difficult to make a public appeal solely through the power that a track holds. When the concept and plan go hand in hand with the track, it creates a synergistic effect.
There are definitely certain trends during certain periods, but it’s mostly a façade. At the core of high quality music (or art) in any era lies in the essence of "beauty." I think artists should always be humble when it comes to the beauty of art, which is the only definite signpost that connects the past, present, and future.
Changbin (singer/songwriter, Stray Kids member): I think that keeping our style consistent while venturing into diverse sounds is part of what allows people to listen to our music. At first it was difficult because our color is very strong, but now we have a solid idea as to what direction we have to go in. [Editor's note: "Colors" are often used in reference to a group's charms, musical identity and appeal.]
HAN (singer/songwriter, Stray Kids member): Trends change very quickly these days, so while I do believe that there are certain sounds that are trending, I don’t necessarily believe that trends are what make a good song. The fact that Stray Kids’ music is always consistent is the reason why listeners are interested in us. A successful song should contain something familiar yet fresh.
Felix (singer/songwriter, Stray Kids member): I don’t believe we’ve found the key elements to make a K-pop hit yet, but we do have our own way of making our own music. We understand and can express our colors well.
Although K-pop reached unimaginable heights since its origins, it's still an industry that is often misunderstood. Why do you think it's so hard for people to appreciate the true value of K-pop?
Vince: I think idols get misunderstood because they have to present themselves in the media in a lot more diverse ways than a conventional artist would. Most of them are people that have been training to do music for years and are just like any other artist who go through the process of making music. A lot of times, for me, it was a cooperative effort in the studio with artists — just like with any other writer and producer.
Shin Cho (Head of K-pop at Warner Music Asia): I simply see it as stereotypes, misunderstandings, and preferences from people who come from a different background. This occurs in many industries, not just music.
One might think a self-producing singer/songwriter is a better artist than a K-pop group. Although the scene is continuously evolving, K-pop idols are more closely monitored and coached by talented and experienced professionals, compared to other genres. It’s an approach that has created its own successes, but I see why it’s a method that not many can agree on.
McKinnon: I want to preface this answer with my belief that K-pop idols are some of the hardest-working people in show business. I've spoken to some of my idol friends about their daily routines. Let's just say they are very, very busy people.
I think it's multi-layered. People know that idols work within a system of creators, stylists, choreographers, taste-makers, and directors who, more often than not, put together all the ideas for them. I've heard of people challenging their authenticity because of this. I don't think this is fair, because systems like this exist outside of K-pop as well. It's also important to mention that there are many K-pop idols who have more hands-on with their projects.
Simon Jakops (CEO/Executive Producer at XGALX, responsible for girl group XG; former member of boy group DMTN): Being involved in the K-pop scene for over 10 years, I believe that idols are true artists. For the K-pop system, there is an element that is considered as important as talent, and it is "spirit." A true artist won’t lose the grit to walk their own path.
I have been in charge of producing and directing XG, a girl group with all-Japanese members currently active in Korea, for the past six years. It took five years for them to debut. Out of 1,300 applicants, only seven made their final debut. I believe K-pop stars' challenging spirit and dedication [to the process] are one of the most basic virtues an artist should have. And I hope that these qualities will be evaluated more properly.
Dom Rodriguez (SVP/Head of SM Entertainment USA): I often find myself comparing K-pop idols to professional athletes: people who work and strive for years and years to take raw talent and develop it to the highest level. When people take a moment to understand the dedication, commitment, and passion that goes into becoming a K-pop artist, they quickly learn how to appreciate that and any of those other thoughts they might have are put to rest.
Many media outlets spread harmful narratives about K-pop. Claims of it being a "factory system" or that it hides a "dark side" worse than any other field only flatten and dehumanize the very real humans behind it. What would you like to say about these misconceptions?
Vince: We have so many people trying to be "in the system" to become artists, but it’s really a select few that get to come and go through the training program. As far as I’m concerned, I haven’t witnessed any dehumanizing process with the "system" at all.
Cho: Incubating and developing a K-pop artist is a massive investment. It’s a business that cannot be operated without real humans’ dedication and commitment. There were cases where "factory system" and "dark side" happened, but at least in this new K-pop era, no labels that carried over some of those bad practices have survived.
Wonderkid: To understand the misconceptions about the K-pop industry, you need to understand the situation in South Korea, both past and present. The word "factory system" brings an image of a cold factory full of machines churning out products without any passion. [If it were,] the public would see right through it and turn away immediately. If "factory system" pertains to "well-organized systems in place to do multiple tasks simultaneously," then I would agree with this specific concept.
Earlier this year, HYBE's Chairman Bang Si-hyuk said in an interview for CNN that "K-pop is not as hot in the market as you might perceive," and was concerned about its slowdown in growth. Is this something you are also experiencing in your work?
Van der wees: On the song side it’s the opposite. More than ever, competition is at its peak, in my opinion. A lot of people reach out to me to work in K-pop, and it feels like it's fast growing.
Wonderkid: As a producer, I may not be fully aware of the business side of the K-pop industry like Chairman Bang does, but I respect his insights and do not take his concerns lightly. I am constantly studying and playing with different musical genres and trends to keep K-pop up to the latest trend. Quality content will yield results and putting all of my effort into creating quality content is the most I can do.
Jakops: Rather paradoxically, Chairman Bang's quote proves the huge influence K-pop has in the current global music market. The most fearful moment could be when you are receiving the greatest love. As a producer myself, I always focus on "novelty." Whatever the element, I would like to propose an idea that has not been seen in the existing K-pop scene. Fans are also waiting for that kind of music. New sounds, new members, new visuals, whatever.
With the advent of AI, the music industry will likely experience changes. In what ways do you think AI will impact your work?
Vince: I am very fascinated by AI technology, and it will definitely impact the music industry and my work. Now that AI-generated voices can sing anything, I do think it is very dangerous, because I don’t think there are set laws regarding the ownership of voices and the ownership of rights to AI-generated intellectual properties. How we set the rules on these matters will shape how AI will impact the industry.
Van der wees: If AI starts writing songs and labels want to go that route, we will be in trouble. But we are humans and we connect deeper on a human level, a.k.a imperfection. Collaborations between writers, producers, and artists are such a fun process that will hopefully never go away.
Cho: I think AI could enhance and open up new opportunities in different areas of the music industry. On my marketing team, for example, we have started to encourage utilizing ChatGPT in administrative works, translations, and supporting creative problems. I believe that AI technology can potentially become a new day-to-day ritual, like using the Internet and social media.
Wonderkid: AI can be a good tool for first-level reference, where you don't need to go through complicated, emotional steps, and I look forward to seeing how it develops to be a creative tool. However, as someone who works in the industry, I don't think it's had a significant impact yet.
I think creators and the public alike read and love "subconscious messages" embedded in art, but there is no "subconsciousness" in an AI's work. It looks good on the surface, but we recognize what is missing in half a second. I think of it as falling in love with a robot: it may someday be possible, but it would take a very, very long time.
Jakops: The rise of AI represents a paradigm shift in the music industry. AI can not only create melodies, write lyrics, or compose entire works, but it can also spot trends and influence creative direction through data analysis. You can see that they are already trying to introduce it into some fields, such as writing lyrics. It will also help redefine the way artists connect with their fans and deliver personalized experiences across multiple channels.
I think AI will serve as an opportunity for human nature, originality, and creativity to stand out more. The challenge will be striking the right balance between harnessing the potential of artificial intelligence and maintaining the human element in music.
Although not every group can be an unprecedented phenomenon on a global scale, more and more K-pop acts have seen steady success promoting overseas, like TWICE becoming the first girl group from any country to sell out L.A.'s SoFi Stadium this year. Do you think it's essential for a group to chase global appeal?
Van der wees: I'm a big world advocate. It's more entertaining to chase global appeal, but not everybody has the budget for it. If labels see the potential for global success and have the financial support, they should definitely do it. There are a few groups, like ATEEZ, who actually have a bigger fan base outside of South Korea.
McKinnon: I think it's important for business, sure. With Bang Si-hyuk's notion that "K-pop is not as hot in the market as you might perceive," and from my experience of hearing some fans not liking the idea of their favorite idols globalizing, there may be a bit of a tug-of-war. In my opinion, K-pop groups going global will benefit the whole music industry.
Jakops: It is true that XG started their activities in the K-pop scene, where idol artists are most active, but in reality, the music that XG develops is called "XPOP." It contains the desire to develop music and activities that can be shared with people around the world, not limited to groups that express the musical characteristics of a single country.
Rodriguez: At this point, the genre is global. There are so many fans all over the world who love K-pop, and our acts have truly reached that global level. Because that appetite is there, as an artist, you would want to try to reach as many fans as possible. With all of the platforms available, you can reach millions of people at once with the push of a button and, if and when you can, show up to meet your fans in person across the globe.
K-pop is an extremely prolific market. How do you make sure your work stands out and maintains high levels of quality?
Van der wees: My writers love challenging melodies, lyrics, production, and strive for better each time. We deliver as great of demos as possible, and then it's in the label's hand to decide what they prefer and finalize the song with their in-house team. We sometimes won't even know a song will be released until a few days before the release date.
Momo (singer/songwriter, TWICE member): I'd like to know the answer to that as well. In my case, I try my best to pull off the concept of each song. Also, our members work hard to synchronize our choreography in a short amount of time.
Dahyun (singer/songwriter, TWICE member): We try to maintain TWICE’s identity, but also change it up a little bit to show different sides of us.
McKinnon: Be great. Take time to do it right. Be great. Utilize your network wisely. Be great. Maintain a positive attitude but be true to yourself. Be great. Don't be selfish. Be great.
Jakops: In the fierce market competition, the basis for establishing XG's unique identity is the character of each member who has been with me for more than five years. Music is an industry where people are more important than systems. I have been concentrating on the idea that discovering each member's character and bringing them to life can be our most important weapon.
I emphasize teamwork; our team gathers ideas every day on how to make the next project bigger and better than the previous one. It requires a lot of time and effort, but it's no exaggeration to say that it's our everything. The only way to get better at something is to practice consistently.
Bang Chan (singer/songwriter, Stray Kids member): A lot of thought goes into the process, for sure. It’s pressuring to know that there are a lot of people out there expecting something big from us. However, enjoying that process and producing something new that people haven’t seen yet makes everything more fun and reduces the burden on our shoulders.
Lee Know (singer/songwriter, Stray Kids member): We continuously seek inspiration from everyday life. We also workout all the time to increase our stamina, which is something that really helps us pull through.
Some K-pop labels apply a "try everything and see what sticks" method for their artists. Do you think that having a solid identity is crucial for success?
Van der wees: There is a strategy behind everything. I think concepts are what make K-pop, K-pop. Some bands might have specific identities but it doesn’t stop them from having variety in their releases. Labels even create sub-groups nowadays to expand their sound and outreach. Each group has its specificity and there is a bit of everything for everybody.
Cho: There are two ways to look at this. A negative way of looking is that there is no strategy and plan. A more positive way is that there is a flexibility in trying different things, even if they are outside of one’s comfort zone. Enhancing the mindset of the latter, and finding better solutions on the former, I feel like the K-pop industry can find a good balance to reach success.
Sana (singer/songwriter, TWICE member): In my opinion, regardless of a solid concept or sound identity, making music that the artist wants and enjoys is the most important. The fact that the artists themselves enjoy their music will be the biggest charm to people.
Chaeyoung (singer/songwriter, TWICE member): When you're a rookie group you can try different concepts and music, and naturally you’ll find your own team color. The longer I have been in TWICE, I have realized that. I wish people will be able to listen to a song and say, "That sounds like TWICE!"
Jakops: I firmly believe that only when all the direction of training, the selection of music, the crafting process, the visual works, and marketing activities are carried out with a solid, definite concept, the results that the public will love can come out.
Hyunjin (singer/songwriter, Stray Kids member): I think that once you find your own style, the identity of the group as a whole becomes much clearer, making it easier to win the hearts of fans. Diverse concepts and styles within this boundary will make everything less repetitive, adding to the uniqueness of the group.
I.N (singer/songwriter, Stray Kids member): I wouldn’t say this is the only way to success. I believe the most important thing is consistently working on improving your abilities. Without personal improvement, it will be difficult to succeed on larger scales.
Rodriguez: Every new project begins with the music. Music drives creativity. The instrumentation, the tempo, the lyrics, the concept of the song, this is what drives the vision. So, for us, it’s not "throwing something at the wall," but rather a creative process that brings a vision to life, which is then executed musically and visually and brought to the masses.
Why do you think there is such a focus in finding "the next generation" of K-pop, even though many artists thrive through multiple of them?
Mina (singer/songwriter, TWICE member): Each generation has their own trends and characteristics, so I think people divide them because they want to remember and cherish each specific generation by their own color. For "the next generation" people will want to do the same.
Jihyo (singer/songwriter, TWICE member): We would love to see everyone enjoying our music without too much focus on which generation it is.
Rodriguez: One view of looking at the generations of music is looking at an artist from their debut through various points of their career. From a company perspective, we are always looking at artists’ development, which is something that U.S. labels often don’t do anymore. We invest in talent, we invest in people, and we give them an opportunity to become the best they can be and achieve their dreams in the hopes that they will become leaders of that next generation.
Where do you think K-pop is headed in the next few years?
Jeongyeon (singer/songwriter, TWICE member): Nowadays, all K-pop acts are beautiful and talented, so I think it would be great if we could see more music and concepts that suit their age.
Tzuyu (singer/songwriter, TWICE member): I'd like to see more collaborations between artists, because I think it's a very unexpected, fun element.
Vince: We don’t call pop music from America "American pop", we just call it "pop." I think music is going to lose its regional borders and music from anywhere will eventually be able to be called just "pop" as long as it’s a hit record. The lines will be blurred and, eventually, names like K-pop, Latin Pop, Afropop will just become "pop."
Cho: K-pop is at a crucial time for the next evolution. It’s hard to predict what’s next, but what I suspect to see is "k-Pop," where "K" is less emphasized than "pop." There will be more hybrid formats of music coming out, and I hope that the K-pop industry can be a leader in this field.
Wonderkid: K-pop will maintain its appeal because it’s on a solid foundation that has been built up over a long period of time. K-pop has been developed in Korea, but will be adopted in multiple countries. It is already happening, young listeners around the world will aspire to be K-pop artists as they grow up. Not all of them will be able to audition and train in Korea, and each country will develop their own versions of K-pop. That will give birth to new music and culture, just as hip hop and rock have influenced the music industry across the globe.
Seungmin (singer/songwriter, Stray Kids member): I do hope that we, Stray Kids, will be at the forefront, leading the way. It’s difficult to imagine what it would be like as the world is changing at a very fast rate, but I’m looking forward to seeing a more futuristic side of K-pop.
Rodriguez: As excited as I am about the many successes that we have had within SM, and the many successes the genre has been able to celebrate in recent years, I firmly believe that we are just getting started. We are at a place where everybody knows that K-pop is here to stay as an important part of pop culture. I know we will continue to see more and more artists from this genre influencing the culture of music globally.
Photo: Eric Jamison/CBS via Getty Images
Take A Look Inside "BTS 10th Anniversary FESTA" Celebrating A Decade Of The Bangtan Boys In Seoul: Photos & Social Media Reactions
Below, view photos of the BTS ARMY’s epic blowout in celebration of 10 years of Jin, Suga, j-hope, RM, Jimin, V, and Jungkook.
BTS may be on a temporary hiatus, but the ARMY hasn’t gone anywhere. On June 17, an estimated 400,000 people gathered in South Korea’s capital Seoul to commemorate a decade of the spectacular, five-time GRAMMY-nominated K-pop band.
At “BTS 10th Anniversary FESTA,” tens of thousands of fans enjoyed immersive exhibits — including a BTS history wall, the band’s onstage costumes and dedicatory sculptures of Jin, Suga, j-hope, RM, Jimin, V, and Jungkook.
Below, check out some photos — and social media outpourings — from the astonishing event.
All photos by Anthony Wallace/AFP via Getty Images.
Photos (L-R): Dasom Han, Tim Mosenfelder/Getty Images, Gabriel Chiu, Rick Kern/Getty Images, Ethan Miller/TAS23/Getty Images for TAS Rights Management, Han Myung-Gu/WireImage
Celebrate AAPI Month 2023 With A Genre-Spanning Playlist Featuring BLACKPINK, Yaeji, Olivia Rodrigo & More
Spotlighting artists of Asian and Pacific Islander descent, GRAMMY.com honors AAPI Heritage Month this May with 44 songs by Japanese Breakfast, NewJeans, Keshi and many more.
As spring blossoms and May rolls around, AAPI Heritage Month reminds us to recognize and reflect on the talents of Asian American and Pacific Islander artists — across the music industry and beyond.
It's vital to celebrate diversity year-round, and May sparks additional dialogue about reshaping spaces to be more inclusive, especially within industries that are traditionally difficult to break into. Today, the music community views difference not as an obstacle, but an opportunity to celebrate individual and collective identity.
While 2023 marks 60 years since the first Asian American GRAMMY winner, AAPI creatives have been making waves in the music community for centuries. Whether you're raging to Rina Sawayama's enterprising electropop or vibing out with NIKI's soulful indie musings, AAPI artists are continuing to shape contemporary genres like never before.
In celebration of AAPI Heritage Month, GRAMMY.com compiled an original playlist to honor AAPI musicians' creativity and novelty. Take a listen to the playlist featuring more than 40 trailblazing creatives on Spotify, Apple Music, Amazon Music and Pandora.