Since their debut in late 2020, ENHYPEN have been heralded as the next big thing in K-pop. Formed by Belift Lab — a joint venture between entertainment companies HYBE (home of BTS and TXT) and CJ ENM (KCON producer) — the guys have had a strong backing and big shoes to follow. But they've consistently lived up to the hype.

ENHYPEN's first two album series, BORDER and DIMENSION, saw the seven-member group achieve record-breaking sales and grow their fanbase rapidly — even selling a million copies of their debut studio album, DIMENSION: DILEMMA, last year. 

Now that their spot is cemented, the septet are exploring the world on their own terms with their third mini album, MANIFESTO: DAY 1. Released on July 4, the project explores diverse genres like Chicago drill, pop rock, alt rock, and old school hip-hop. 

From the start, ENHYPEN have aimed to be the voice of their generation through their lyrics and messages. But at their core, they're just seven young boys who love music. This is palpable as GRAMMY.com sat with them via Zoom, where Jungwon, Heeseung, Jay, Jake, Sunghoon, Sunoo, and Ni-ki excitedly discuss their involvement in creating MANIFESTO: DAY 1 and their upcoming fall tour.

In just a 30-minute conversation, it was clear that ENHYPEN are enjoying the ride they're on together. They laugh at each other's jokes and finish each other's sentences — and combining that chemistry with their sonic connection on MANIFESTO: DAY 1, all of their success makes perfect sense.

You just wrapped up your first trilogy of albums, which means the end of your introduction to the music world. What lessons are you taking away from the last two years of being rookies? What impression do you hope listeners have?

Jungwon: K-pop has been popular for a while so, not only us, but also the public grows as well, and their expectations get really high. I think we tend to work even harder to live up to those high expectations. 

We constantly think about how we can bring in something new, something fresh to the public. We're trying to bring as many new genres as possible and try as many genres as possible. For this album, theme-wise, it's called a manifesto. We're declaring a lot of our own stories in this album as well.

MANIFESTO: DAY 1 is a step forward as you guys mature as a group. Have you gotten to challenge yourselves with the making of this album? What can we expect to change about the group going forward?

Heeseung: For this album, we have tried this new genre called Chicago drill, and it's also our first time trying rap. I don't know how that's gonna be received. Jake also participated in writing the lyrics. Some of the members took part in making the cover designs, so we were directly involved in the album-making process. I'm sure ENGENE will love this album. 

As you mentioned you guys are showcasing your rapping skills on "Future Perfect". Why was this the right time to add this new layer to your music, and what do you think it adds to the song?

Ni-ki: "Future Perfect" is a song that declares "we will take the leap forward, come along with us" to everyone in our generation. So, we tried many new different things for this album, you know, the rapping and also performance-wise. We worked really hard to show an improved version of ourselves.

Jake, you participated in songwriting for "SHOUT OUT." What can you say about your involvement in this song? And what would you like to write about in the future?

Jake: When we first got the song, they told us that it was going to be a song that we can really connect with our fans and perform with our fans, like sing-along together. So in my mind, I had to kind of imagine what I would feel and what I would experience when we go on a tour or perform to our fans in person. 

It's pretty fun writing the lyrics. And also, when I heard that my lyrics got chosen for this song, I was really excited and really honored to be a part of the song.

What is enticing about some of the genres that you've tried this time? 

Heeseung: We actually enjoy listening to different genres of music and each member has very different styles in music as well. We prepared something very new to show that we have grown this much. 

For the title track, we're speaking to our peers in our generation. For the track "ParadoXXX Invasion," we are actually taking a jab at adults, so we're kind of delivering these strong messages through our music. I think the process of listening to them, practicing them and making our own music is very attractive. When we listen to the final result, it's, you know, very attractive.

Are there any genres that you haven't tried yet that you'd like to try? What genre best showcases ENHYPEN's style?

Jake (pointing at Heeseung): He wants to try slow jams.

Heeseung: A cappella too.

Jake: I like jazz!

Heeseung: Gospel! Or like Brian McKnight. Do you know Brian McKnight?

Yeah!

Heeseung: I want to do that style.

Jay: We're still on a journey to find our unique color. We're trying many different genres for that journey. Usually, for our title tracks, we convey these very strong images through our title tracks but, also, at the same time, for every album we have these soft-pop vibes like "TFW" and "Polaroid Love" for B-side tracks. I think we're really working hard and really trying to bring as many different genres as possible.

Jungwon: We used to do hip-hop and refreshing concepts like before. Now that we did Chicago drill, it's something very new and unfamiliar to us. I can't even imagine what we're going to do next. Something very new. 

Jay: Maybe opera.

Do you each have a favorite track on this album?

Jake: For me it has to be "SHOUT OUT."

Jungwon: "SHOUT OUT"? Me too!

Jake: Oh really? Let's go!

Sunghoon: "Future Perfect."

Ni-ki: "Future Perfect."

SUNOO: "TFW."

Heeseung: "ParadoXXX Invasion" and "SHOUT OUT."

Jay: My favorite is "SHOUT OUT."

You guys are gearing up for your first U.S. tour this fall. What cities would you hope to perform at and what are you nervous or excited about regarding the tour?

Sunoo: It's actually our first time going on a tour — we have never toured before. So we want to go to many different regions. We're planning to go to six cities in the U.S. this time. We participated in KPOP.FLEX [festival in] Germany not long ago, and we received so much energy from the fans in person, so we hope that we can receive as much good energy through this tour as well.

What are your future goals as a group? What do you think fans should take note of when they listen to this new album?

Jake: Our goal was always the same from the beginning. It was to meet our fans in person more often and show our fans what we can do on stage. As a group, we want to always grow in terms of music and performing, and in general, we always want to grow and become the best version of ourselves.

Jungwon: It is the most important thing to meet our fans and bond with our fans in person. I also hope that our music reaches not only our fans, but the public — the audience will enjoy listening to the music, and I think that will be really great.

What sets ENHYPEN apart from other 4th gen Kpop acts? Is there a message in your music that resonates with you most?

Sunghoon: I think our strength is doing music that our peers can really relate to. I hope that we can continue to be artists that can declare the thoughts and ideas of our peers on their behalf.

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Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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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.

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Since their debut in November 2020, South Korean septet ENHYPEN have already taken the K-pop world by storm. Their first mini-album, 2020's Border: Day One, immediately established the group as an act to watch, landing the biggest first week of sales for a single album of any K-pop group that year. Two more mini-albums and a full-length project later, ENHYPEN have proved that those numbers were no fluke.

ENHYPEN broke onto the scene during the first year of the COVID-19 pandemic, meaning that much of their early success happened virtually. Unable to tour, they leaned into their online following and connected with fans over remote platforms. But in 2022, they kicked off their MANIFESTO world tour, adding real-life performance elements to their music and getting closer to their listeners.

"Before we used to only communicate online. We're feeling [their love] more now," the group told Bandwagon Asia earlier this month during a stop in the Philippines.

In this episode of Global Spin Live, ENHYPEN bring that same energy and connection to Los Angeles for a performance of their high-energy song, "ParadoXXX Invasion," at the GRAMMY Museum. 

The seven bandmates bring precise, bouncy choreography to their performance, along with an uptempo beat and colorful vocal range that comes from a variety of singers taking a turn at the mic. "ParadoXXX Invasion" is the second single from ENHYPEN's Manifesto: Day 1 mini-album, a six-song collection that dropped in July.

Global Spin Live is held in conjunction with the GRAMMY Museum and GRAMMY.com as a live event extension of the popular online series, Global Spin, showcasing Global Music artists. Press play on the video above to watch, and keep checking back to GRAMMY.com for more episodes of Global Spin.

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It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown. The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.

Brown's 1965 classic, "Papa's Got a Brand New Bag," became one of the first funk hits, and has been endlessly sampled and covered over the years, along with his other groovy tracks. Of course, many other funk acts followed in the '60s, and the genre thrived in the '70s and '80s as the disco craze came and went, and the originators of hip-hop and house music created new music from funk and disco's strong, flexible bones built for dancing.

Legendary funk bassist Bootsy Collins learned the power of the one from playing in Brown's band, and brought it to George Clinton, who created P-funk, an expansive, Afrofuturistic, psychedelic exploration of funk with his various bands and projects, including Parliament-Funkadelic. Both Collins and Clinton remain active and funkin', and have offered their timeless grooves to collabs with younger artists, including Kali Uchis, Silk Sonic, and Omar Apollo; and Kendrick Lamar, Flying Lotus, and Thundercat, respectively.

In the 1980s, electro-funk was born when artists like Afrika Bambaataa, Man Parrish, and Egyptian Lover began making futuristic beats with the Roland TR-808 drum machine — often with robotic vocals distorted through a talk box. A key distinguishing factor of electro-funk is a de-emphasis on vocals, with more phrases than choruses and verses. The sound influenced contemporaneous hip-hop, funk and electronica, along with acts around the globe, while current acts like Chromeo, DJ Stingray, and even Egyptian Lover himself keep electro-funk alive and well.

Today, funk lives in many places, with its heavy bass and syncopated grooves finding way into many nooks and crannies of music. There's nu-disco and boogie funk, nodding back to disco bands with soaring vocals and dance floor-designed instrumentation. G-funk continues to influence Los Angeles hip-hop, with innovative artists like Dam-Funk and Channel Tres bringing the funk and G-funk, into electro territory. Funk and disco-centered '70s revival is definitely having a moment, with acts like Ghost Funk Orchestra and Parcels, while its sparkly sprinklings can be heard in pop from Dua Lipa, Doja Cat, and, in full "Soul Train" character, Silk Sonic. There are also acts making dreamy, atmospheric music with a solid dose of funk, such as Khruangbin’s global sonic collage.

There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music, Amazon Music and Pandora.

Say She She

Aptly self-described as "discodelic soul," Brooklyn-based seven-piece Say She She make dreamy, operatic funk, led by singer-songwriters Nya Gazelle Brown, Piya Malik and Sabrina Mileo Cunningham. Their '70s girl group-inspired vocal harmonies echo, sooth and enchant as they cover poignant topics with feminist flair.

While they’ve been active in the New York scene for a few years, they’ve gained wider acclaim for the irresistible music they began releasing this year, including their debut album, Prism. Their 2022 debut single "Forget Me Not" is an ode to ground-breaking New York art collective Guerilla Girls, and "Norma" is their protest anthem in response to the news that Roe vs. Wade could be (and was) overturned. The band name is a nod to funk legend Nile Rodgers, from the "Le freak, c'est chi" exclamation in Chic's legendary tune "Le Freak."

Moniquea

Moniquea's unique voice oozes confidence, yet invites you in to dance with her to the super funky boogie rhythms. The Pasadena, California artist was raised on funk music; her mom was in a cover band that would play classics like Aretha Franklin’s "Get It Right" and Gladys Knight’s "Love Overboard." Moniquea released her first boogie funk track at 20 and, in 2011, met local producer XL Middelton — a bonafide purveyor of funk. She's been a star artist on his MoFunk Records ever since, and they've collabed on countless tracks, channeling West Coast energy with a heavy dose of G-funk, sunny lyrics and upbeat, roller disco-ready rhythms.

Her latest release is an upbeat nod to classic West Coast funk, produced by Middleton, and follows her February 2022 groovy, collab-filled album, On Repeat.

Shiro Schwarz

Shiro Schwarz is a Mexico City-based duo, consisting of Pammela Rojas and Rafael Marfil, who helped establish a modern funk scene in the richly creative Mexican metropolis. On "Electrify" — originally released in 2016 on Fat Beats Records and reissued in 2021 by MoFunk — Shiro Schwarz's vocals playfully contrast each other, floating over an insistent, upbeat bassline and an '80s throwback electro-funk rhythm with synth flourishes.

Their music manages to be both nostalgic and futuristic — and impossible to sit still to. 2021 single "Be Kind" is sweet, mellow and groovy, perfect chic lounge funk. Shiro Schwarz’s latest track, the joyfully nostalgic "Hey DJ," is a collab with funkstress Saucy Lady and U-Key.

L'Impératrice

L'Impératrice (the empress in French) are a six-piece Parisian group serving an infectiously joyful blend of French pop, nu-disco, funk and psychedelia. Flore Benguigui's vocals are light and dreamy, yet commanding of your attention, while lyrics have a feminist touch.

During their energetic live sets, L'Impératrice members Charles de Boisseguin and Hagni Gwon (keys), David Gaugué (bass), Achille Trocellier (guitar), and Tom Daveau (drums) deliver extended instrumental jam sessions to expand and connect their music. Gaugué emphasizes the thick funky bass, and Benguigui jumps around the stage while sounding like an angel. L’Impératrice’s latest album, 2021’s Tako Tsubo, is a sunny, playful French disco journey.

Franc Moody

Franc Moody's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.

Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether.

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