Except for maybe billionaires, the pandemic wreaked havoc on most people’s lives. Korean-American R&B singer based in South Korea MRSHLL was no exception. Shows in Europe and his performance at SXSW were swapped for watching Netflix and eating take out. With concert money having dissipated, he relied on other jobs like participating in an online concert organized by a German artist and a writing gig to get him through the month. And just when he decided to release music, he was diagnosed with a herniated disk that put a stop to everything. Severely in pain and under heavy medication, he filmed the music video for "DO U" featuring the rapper Queen Wa$abii. 

"There were very difficult times. At moments I worried about how I was gonna pay for rent next month. Then something would come at the last minute and then I was able to pay for rent and feed myself," MRSHLL told GRAMMY.com over a phone call recently about his struggles throughout the pandemic. "For some reason, by the grace of the big woman upstairs, I was able to survive 2020 and somehow I am able to survive 2021."

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Born Marshall Bang, MRSHLL’s journey began simply by chance. He had quit music because of a throat issue and was working as a hairstylist in New York. Until one day, a South Korean TV producer found one of his old singing YouTube videos. She had reached out and invited him to a singing competition show. Thinking he wouldn’t last long on the show given he could barely sing one song without his throat hurting, he hopped on a plane to South Korea the next day. At his arrival, he was immediately on camera, and what he thought would be a two-week visit ended up being a stay for the whole length of the show. Seven years later, he’s still going.

At the time of his musical debut in 2015, MRSHLL was lauded as South Korea’s first openly gay singer. Only one other performer, the K-pop singer Holland, has emerged since then. The lack of LGBTQIA+ visibility in pop music in South Korea is crystal clear—MRSHLL, Holland and pop singers like Harisu, the first trans woman entertainer in the country, are opening doors for more artists. And though South Korea’s views on the LGBTQIA+ community are slowly progressing, many would argue there is still a long way to go—the country still criminalizes sex between men in the military for one. More recently, an outbreak of coronavirus in Seoul connected to clubs frequented by LGBTQ+ people last year unveiled fervent homophobic sentiments. On the k-pop front, some artists in the idol industry have increasingly become more vocal about supporting LGBTQIA+ rights, though there has yet to be an openly queer member in a group.

Being an openly queer artist in Korea is still a radical act and not one many dares to commit. But for MRSHLL, who first publicly came out through an interview in 2015, it was important to be his authentic self. "For me, being queer every day isn’t scandalous. If anything, it’s just boring, it is what it is. It’s insane that it’s still this controversial thing," the "POSE" singer said. "It’s a bit of a lonely road since there are not many of us doing this openly yet. Until that happens, I’m going to keep churning out music and art and things that show the different aspects of who I am. Not just as a queer artist, but [as] an artist. In doing so it is queer art. It’s art made by a queer person."

True to his identity—transgressive, queer, and fabulous— his work reflects everything that makes MRSHLL himself. Last year’s "DO U," as the title suggests, is a celebration of unique individuality. "Starlight" is visually a luxe, hazy featuring big, puffy tulle and satin tops and lace applications on the face. "Deserve better" featuring CHAI highlights velvety runs and the rest of his vocal splendor. His genre-blending style lies somewhere in between the mix of his R&B vocals, house music and chill pop, and everything else around, above, and below that.  

Merely two weeks after recovering from his herniated disk injury, MRSHLL spoke to GRAMMY.com from his home in South Korea about being a queer artist, LGBTQIA+ representation in k-pop, and his upcoming music. 

This interview was edited and condensed for clarity.

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Happy Pride! How did you usually celebrate in Korea pre-pandemic?

They call it the Seoul Queer Festival here. It's all love and color, and people are all decked out in fabulous rainbow wear. I performed at the official pride after party two years ago and that was an incredible experience. There is something to be said for when you're performing for random people as opposed to performing for people in your community. People who are like minded individuals, that understand and know the experience and the journey. I think it’s just really special as a queer artist. I really enjoyed the experience, the support, the energy, the love that you feel. It's just so palpable and it’s super rad. I love my community. 

What motivated you to pursue a music career in Korea as an openly gay/queer artist?

I don’t think I ever started off my journey thinking, "I’m gonna be an openly queer artist in Korea." That was never in the cards. When I got to Korea, I was like, "Okay, I guess the opportunity is here for me right now, let's see where this goes." I had some friends already in the music industry who really helped me get acclimated to the culture and things like that. And in terms of me starting my career in general, just out from the get go, I didn’t want me being queer to be anything "controversial." I didn’t want it to be something I was hiding or to become a scandal later on. 

What has your experience been like? Especially now that your latest work has been very queer-presenting?

I love it. I am also someone who is also ever changing, ever growing and I believe that my music and my look keeps evolving. Our art evolves with us. All the different things that I have experienced in my life have played into what I create and what I make. I will be figuring out who I am and my identity for a long time because it changes as we grow and mature in life. I went through a mental health journey, first when I originally came out, and then when I came to Korea. Dealing with all the cultural differences and figuring out cultural cues and things as a Korean American navigating that space and navigating the music industry as a queer person. 

Would you say you’re a k-pop act?

I feel like the k-pop umbrella is such a huge category. It seems like a lot of people put any Korean artist under the K-pop umbrella. I make pop music that has tinges of R&B and house music. I wouldn’t say I am not k-pop, but I don’t know if I would say that I am 100% k-pop. If you were talking about an artist who does Korean popular music, then sure, that is me. You can categorize me anyway you want, I will be making music the way I want no matter what. People can put me under the k-pop umbrella if they want and I am okay with that. And if they don’t want to, I am okay with that too.

In the past few years, some major k-pop idols have increasingly become more vocal about supporting the LGBTQ+ community, and some have included queer people in their music videos. What are your thoughts on this?

I say the more the merrier. Of course, I would love to see more openly queer artist in general. I love seeing more representation with drag queens or dancers who are more queer presenting or more sexually fluid presenting. I also am ever so slightly wary because I don’t want it to become a shtick, a trendy gimmick. I am not a gimmick. Being LGBTQIA+ is not a gimmick, this is real life, this is who we are. You can’t use our culture and our people for your own commercial gain. Sometimes it can be trendy and sometimes it can raise awareness for us. I think it depends on the situation. As of right now because it’s so devoid of representation in general, I am happy to see these k-pop idols are hiring these femme presenting dancers and drag queens, and doing it so far in a way that is powerful—they are normalizing it in a way. I want them to actually support the LGBTQIA rights aside from visuals. Things like tagging their dancers and showing up to pride events to show support, being more present where it counts and being prepared for the risk that comes with crossing the "line." The friends I have in the idol world have always been supportive of me. 

You and Holland are the main representatives of the LGBTQ+ community within the music industry in South Korea. How do you feel about that?

There should absolutely be more. I want to see openly lesbian artists and sexually fluid artists and non-binary artists. I want to see all of it because there's just so few of us. I know they are out there. But, you know, we are waiting. 

You’re working on your first full-length album and are releasing singles leading up to it. What can you tell me about that?

I have a dance single coming out at the end of next month and the song is called "Show Me What You Got." It’s my first all in Korean release this year. There is a music video for it. This will be my first time doing drag makeup. Two drag queens did my makeup for this music video. It was almost an entirely queer production. I was super proud of it. It will be my last dancey single before my actual album. My album will hopefully be out before the end of this year. I don’t want to rush it and make sure everything is perfect for everyone to hear. There will also be some guest features that I am super excited to share. I am very, very excited.

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And now, I’m also very excited. And how cool that you have drag moms now! 

I know! I love and respect drag queens so much. I feel like they are kinda otherworldly, just almost like the future of people. They are like love come to life. I feel like I can get so much inspiration from drag culture. The fashion, the performance, I think they are kind of like angels, to be honest with you. I love them. 

You’ve said your single "Metamorphosis" was showing the fully realized version of yourself. What do you mean by that?

When I was younger, I didn’t know anything and I was unsure of myself and who I was. And like "Metamorphosis," I grew into a more realized version of myself. I know I am not at 100% yet because I always want to leave room for growth. I am becoming more of who I am. It was a big change for me not only for musical direction but for visuals as well. And so I think everyone will see what that means in my first solo album.

Last year, you released multiple singles, almost one per month. What is that experience like as an independent artist?

Everything got canceled [last year] because of the pandemic. I had a few months where I was super sad and super down. After about 3 months, I was like, "Okay, you can’t let 2020 go to waste, you have to do something. Let me just release music. So I have things to perform once the world opens again." So I started with "I Don’t Wanna Know," which was a very queer collaboration with Vardaan Arora who is an Indian-American artist based in the States. I just started pumping out songs starting in the summer, I was creating visuals and I was just grinding. I am fortunate enough to have people who wanted to pump out creative stuff—no matter if we were on a bare bones budget or no budget at all. Being an independent musician is not easy, especially in these times. It was a difficult year, but it gave me an outlet to express myself. 

What’s something you’d wish people outside of Korea, or even the k-pop fandom, would know about the Korean R&B scene?

There is actually not too much out there. I feel like, in a way, there is an R&B revolution that is gonna happen. I’m excited to see more of the Korean R&B scene grow. There are a lot of upcoming artists that I am super excited to see expand and grow, and get more recognition. 

What are some of your next projects?

"Show Me What You Got," coming at the end of July. There is this documentary thing coming out where I partnered with this brand coming soon. I can’t say who it is yet. On top of the first full length album, I am also working on my first all English EP, which should come out next year sometime. 

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For decades, Japanese music has been one of the hardest to access as a foreigner. Even with the popularization of cultural exports like anime and the emergence of streaming platforms, it is still considered a niche, and fans often have to dig deep in order to find albums, translations, or any kind of content at all.

"There weren’t many opportunities for Japanese music to go out into the world until now," says YOASOBI’s producer and songwriter, Ayase, over a Sunday morning Zoom from Tokyo. "If we were to break into the mainstream, I think there’s a lot more work to do. Being a part of Coachella is one of them."

The duo, composed of Ayase, 30, and vocalist Ikura, 23, is gearing up for their first performance at the mighty Californian festival next weekend, plus two sold out headline shows in Los Angeles and San Francisco. In August, they are set to play at Lollapalooza in Chicago, IL. 

"Performing at festivals like Coachella was one of our goals when we put our live team together, so I believe that it will be a place for us to grow further,” says Ikura, who lived in Chicago as a kid and considers these opportunities a "full circle" moment.

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Formed in 2019, YOASOBI found overnight success with their debut single "Yoru ni Kakeru," a bright-sounding but harrowing tale that topped Billboard’s Japan Hot 100 chart for six non-consecutive weeks. They continued to rise further, recording five EPs (three in Japanese, two in English), the opening theme to Netflix’s anime series "Beastars," 2021’s "Kaibutsu," and their magnum opus so far: "Idol."

Released in 2023, "Idol" became a massive hit, placing No.1 at Billboard's Japan Hot 100 chart for 22 weeks and counting — an all-time record break. It was also the nineteenth best-selling song of 2023 worldwide, according to the IFPI. With these accolades, it’s easy to understand why the duo is fully booked, but what makes their music so enticing to global audiences? 

Listening to YOASOBI is like entering a rabbit hole. First, you get hypnotized by the glistening synths, bursting like fireworks, and the rock riffs taking melodies to full-speed. Then, you discover their adage is "novel into music," and all songs are based on fictional stories written by various authors. There’s also the animated music videos, each with a different style, giving their sounds another layer for interpretation. And finally, there are Ayase’s and Ikura’s (under the name Lilas Ikuta) own solo careers — treasure troves ready to be unearthed.

"I don't know, to be honest," says Ayase when asked about their growing popularity. "I guess the fact that a lot of Japanese [exports] have been prevalent around the world had to do with it. But also, maybe it's because people are experiencing this combination of music with storytelling that is interesting to them." Ikura agrees, adding that YOASOBI allows fans to "enjoy this bigger world that we are part of in a more three-dimensional way."

The experience is similar to how they create their music: mining, collecting, mixing, and transforming different threads into a new fabric. From fictional stories, Ayase transmutes his feelings into beats on his laptop with Logic Pro, then inputs melodies and lyrics through Vocaloid softwares like Hatsune Miku. Ikura listens to the Vocaloid demos, and then adds her own feelings and flair into the interpretations. For English-language tracks, they work with translator Konnie Aoki, who is "very mindful of phonetic sounds," and Ikura listens to the Japanese versions up until it’s time to record, so that she can have "the right emotions set."

It’s such a natural process for them that Ayase is surprised to know that there are still people who don’t consider Vocaloid as "real" music. “Those people probably don’t know what music is,” he says with a laugh. “Do they think that instrumental music, where there's no human singing, isn’t real music? There’s really great Vocaloid music out there, and it’s basically [voices] created through synthesizing softwares. It's very different from AI, which is auto-generated music. Vocaloid is humans creating music using these softwares. That's the only difference from a human singing a song.”

To Ikura, who maintains her burgeoning solo career in tandem with YOASOBI’s busy schedule, Vocaloid allowed her to broaden her talents. "It is my first time singing songs that somebody else wrote, so it was an opportunity to challenge myself with things that I wouldn't necessarily write, or sing in a tone or voice that I wouldn't come up with myself." She says that these experiences influence her solo works all the time, in a "synergy" that allows her to "have more colors to work with in my palette."

"I started producing music through Vocaloids,” adds Ayase. “And it truly broadened my ideas and imagination when it comes to creating music. It allows creators to come up with melodies that a human singer may not come up with. It's a fascinating culture. The possibility I feel is infinite, and it really makes the impossible possible, in a way.”

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Endless possibilities are also a big allure in AI technologies, but Ayase doesn’t see this as a threat. With the right boundaries, it’s just a tool — like Vocaloid, Logic Pro, and the internet — that can be used positively. "However, as a creator myself, I really hope that creative works come out of the imagination and ideas of the human mind. In that sense, [AI] may not be 100% a positive thing for us," he shares.

But that’s something for the future. Now, YOASOBI is focusing on their very real, very tangible events ahead. "Finally, we have this opportunity where people around the world are discovering our music. So, performing at festivals like Coachella, Lollapalooza, or doing our solo shows, I think it's important that we communicate with the audiences and maximize this opportunity as much as possible," says Ikura.

And it’s not just YOASOBI getting all the attention: according to data and research company Luminate, J-pop in general is on the rise. "I’m very proud, as a Japanese person, for that situation. For us, it’s really about taking it one step at a time," says Ayase. “Our ultimate wish is to have our music or reach as many people around the world as possible, and so we will continue to work hard every day."

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Ah, springtime. For the average person, that means sunshine, flora in bloom, perhaps a figurative fresh start in the new year. But for music festival fans, it signals another season starter: Coachella.

An estimated 125,000 people will flock to the Empire Polo Fields in Indio, California for the first weekend (April 12-14) of the 23rd Coachella Valley Music and Arts Festival. While the first weekend is already sold out, tickets are still available for the second weekend (April 19-21).

Coachella's headliners have been busy: Both Lana Del Rey (headlining Friday) and Doja Cat (slated to close out Sunday) just wrapped extensive tours at the end of 2023 and, while Saturday closer Tyler, the Creator's only other 2024 festival date is at Lollapalooza, he did stage a large-scale appearance in 2023 at the Camp Flog Gnaw Carnival in Los Angeles. Still, it stands to reason that there are scores of fans who missed out on those tour stops, and Coachella would be an ideal chance to catch them in a particularly special setting. 

There's also the potential to see a slew of surprise guests (a long-standing Chella tradition) and much-hyped reunions. Coachella 2024 attendees will likely flock to see a reunited No Doubt and Sublime, the latter with a Nowell back at the helm (Bradley’s son, Jakob).

Then there’s the economic logic behind opting to see those bigger acts at a festival: for a price not much more than what you’d pay for an arena ticket, you get the bonus of catching dozens of other incredible artists while you’re at it. The diversity and quality of music throughout even the lower tiers of the Coachella lineup is staggering, so overall the price for a pass is quite the steal. Read on for the inside scoop on 10 of this year’s most exciting undercard performances.

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Cimafunk

Cuban artist Cimafunk has been relatively quiet since releasing a third studio album, El Alimento, in 2021. But the success of that record — which garnered his first GRAMMY nomination for Best Latin Rock or Alternative album at the 2023 GRAMMY Awards — appears to have propelled him to new career heights. He will be the first Cuban-born artist to perform at the festival, kicking off a string of worldwide shows that begin with his appearance at Coachella on April 12 and 19. 

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Cimafunk’s sole release since his last album was the December 2023 single “Te tango en salsa,” which expands upon his self-designated brand of Afro Cuban Funk with accents of disco and grooves filled with New Orleans-style horns. Though the track hasn’t been publicly connected to any upcoming EP or album, one might presume that his impending run of concerts is a precursor to a complete body of new music. Perhaps Coachella will function as a testing ground, and considering the inclusion on El Ailmento of prominent artists George Clinton, CeeLo Green and Lupe Fiasco, who knows what other surprises might be in store at the desert festival known for delighting audiences with plenty of guest features.

L’Imperatrice

Through the years following their inception in 2012, French pop band L’Imperatrice have played primarily in Europe and surrounding regions, so it’s no small feat that they’re poised to make their second appearance at Coachella in two years. They first played the fest in 2022, a makeup show for Coachella's 2020 COVID-19 cancellation. 

Their slots on April 12 and 19, stops on their just-launched Double Trouble Tour, follow the 2018 release of debut full-length Matahari and performances at prominent festivals like Austin City Limits and Outside Lands. Self-produced sophomore album Pulsar arrives on June 7, and its infectiously groovy and sensual debut single “Me Da Iqual” promises a Coachella set sure to incite emotional release among the masses — ideally during one of the fest’s famed golden hours to match the music’s euphoric vibes. 

Skepta

Regarded as one of the most influential rappers in the UK grime scene, Skepta is set to commence his latest return to stateside stages with appearances at Coachella on both Fridays, which marks his second time at the festival after lauded dual appearances in 2017. 

Following a semi-secret DJ set at Austin’s South by Southwest festival in March, these shows will preview a run of summer dates in the UK and Europe and the release of upcoming sixth solo album Knife and Fork. 

With that record’s release date still in question but imminent, it’s a good bet that he’ll introduce new material to build upon the January drop of lead single "Gas Me Up (Diligent)," which adopts a flow and melodic structure more akin to popular American rap. To that end, Skepta’s previous collaborations with U.S. rappers like Drake, Ye and members of ASAP Mob could lead to a loaded lineup of guests during his Coachella set. It has the potential to be a huge moment, though his reputation for high-energy and rowdy gigs are reasons enough to prioritize his performance. 

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Mandy, Indiana

English-French noise rock upstarts Mandy, Indiana make music that isn’t necessarily easy to digest. Minimalist and chaotic compositions, primarily from their widely celebrated 2023 debut album I’ve Seen a Way, resonate as tunes tailor-made for technically minded music nerds. Still, danceable moments emerge among the sonic helter-skelter, which combines experimental elements of industrial, classic house music and samples aplenty (think Death Grips with more palatable melodies and exclusively French lyrics). 

So far, the dynamic four-piece hasn’t played much on this side of the pond — their debut shows at Coachella arrive on the heels of a handful of U.S. appearances in 2023 that included the SXSW Music Festival. Which means Mandy, Indiana’s sets on April 13 and 20 will mark relatively rare (and therefore must-see) chances to embrace their overtly wonderful weirdness in the desert among the more prominent pop-leaning artists on the roster.

The Last Dinner Party

If you’re not yet keen on British indie rock band the Last Dinner Party, it’s time to get with the program. With only one album under their belt, Prelude to Ecstasy (released Feb. 2) — which echoes various influences ranging from Siouxsie and the Banshees to Kate Bush and ABBA —the quintet has already earned multiple awards and accolades, including topping the UK Album Chart. To boot, they opened for the Rolling Stones in London’s Hyde Park two years prior to putting out their record.

The band’s performances are reportedly jaw-dropping, further evidenced by the complete sell-out of their current U.S. tour. That jaunt wraps with their April 20 appearance at Coachella (they also play during the first weekend on April 13), so, unless you want to pay ridiculous resale prices for one of their club shows, this is a prime chance to see them live with the added benefit of catching many more amazing acts while you’re there.

Young Fathers

Young Fathers are often categorized under the umbrella of hip-hop, but it would be wrong to pigeonhole them that way. True, one can pinpoint elements of a spitting, old-school style — especially on debut album Dead (winner of the prestigious Mercury Prize in 2014.. However, their sound spans the landscape of many genres, often weaving in threads of electronic, industrial, and trip-hop. It should be telling that they’ve collaborated multiple times with Massive Attack.

The music clearly resonates with a substantial audience. They’ve reached prime positions on the UK Album charts, their fourth and latest album Heavy Heavy (released Feb. 3, 2023) won them their third Scottish Album of the Year Award, and this year marks their second invitation to Coachella (catch them on Sundays: April 13 and 20). With a full year gone since putting out new songs, there’s no telling if they’ll serve up anything fresh. Regardless, fans of heavy-hitting experimental music, assuredly energizing at any time of day or night, should prioritize seeing their set.

Oneohtrix Point Never

It’s a wonder that Oneohtrix Point Never has never played Coachellal until now given his string of consistent releases since emerging in the early 2000s (with never more than three years between albums) and Coachella’s penchant for historically championing experimental electronic artists. Following the Feb. 29 release of his latest EP “Oneohtrix Point Never - Ambients,” he debuts in the desert on April 13, with his second weekend encore on April 20. 

The Massachusetts-bred beatmaker’s music swings from sparse to compositionally complex. It's not geared toward a typical EDM dance party, but always cinematic and hypnotizing, creating a space where listeners can truly lose themselves in the sonics. Given his style, it’s safe to assume he’ll occupy an evening time slot, so if you’re the type who prefers something a little more raw to the mainstream big-timers topping the bill, Oneohtrix Point Never might be just the ticket.

Mdou Moctar

If there’s one artist on this year’s Coachella lineup that will truly thrive in a desert setting, it’s Mdou Moctar. The Niger-based musician plays rock music steeped in the style of Tuareg, guitar-based blues-rock fusion that originates in the Sahara region. However, Moctar’s music decidedly transcends the traditional sound, often reverberating as sublimely psychedelic.

His performances in Indio on April 14 and 21 precede the release of his sixth album Funeral For Justice (arriving May 3). Based on the two singles made available from that record so far (title track “Funeral for Justice” and “Imouhar”), the people of Coachella are in for a true desert trip.

Atarashii Gakko!

When Japanese “girl group” Atarashii Gakko! make their Coachella debut on April 14 and 21, anticipate the unexpected. The four singers’ have a stated goal of “redefining what it means to be a girl group.” They’re technically categorized as J-Pop, but among the many catchy choruses, their music also incorporates shades of speed metal, trap beats and alt-rap à la Rage Against the Machine, all of which you can hear on their latest album ICHIJIKIKOKU.

What you can certainly expect is an outrageously high-energy show chock-full of nonstop, self-designed choreography performed in colorful sailor-fuku uniforms (essentially sailor suits worn by Japanese students in the ‘70s and ‘80s … think Sailor Moon but intentionally less provocative). If you need an adrenaline boost on the final day of the fest, look no further than Atarashii Gakko!.

Olivia Dean

Dear America, it’s time to give a proper welcome to an artist destined for stardom:  Olivia Dean. With only a handful of U.S. shows in the bank, the 25-year-old British neo-soul singer’s debut at Coachella on April 14 — arguably her biggest U.S. gig yet — will serve as the most well-deserved of receptions. 

Sure, her nominations for the 2023 Mercury Prize (for debut album Messy) and 2024 Brit Awards (Best Pop Act, British Artist of the Year and Best New Artist) should merit attention enough for those who don’t know her. But even a few moments of listening to key album tracks “Dive” and “The Hardest Part” (don’t sleep on the alternate version featuring Leon Bridges) are the real deal-sealers. The richness of Dean’s recorded vocals are absolutely arresting, evocative of and equal to top-tier divas who preceded her. It’s thrilling just thinking about the impact she’ll make at Coachella — do yourself a favor if you have the chance and go witness it firsthand. 

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In the music video for "I Got You," K-pop girl group TWICE are stranded at a tempestuous sea. Their ship waders and wobbles, thunder roars outside, but the nine members are safe and sound in the cabin — lying on cozy pillows and having a good time, they know all storms are temporary.

"I Got You" precedes TWICE’s thirteenth EP, With YOU-th, out Feb. 23, and the video mirrors their journey together so far. 

TWICE members Nayeon, Jeongyeon, Jihyo, Momo, Sana, Mina, Dahyun, Chaeyoung and Tzuyu made their debut in Oct. 2015, after being selected through JYP Entertainment’s survival show "Sixteen." Almost a decade later, the group is now one of K-pop’s most influential, beloved names. They've even made history by becoming the first K-pop group to win a Breakthrough Award at the 2023 Billboard Women in Music Awards, and the first girl group and Asian female act to sell out Los Angeles' SoFi Stadium last year.

Achieving their level of success didn’t come easy. In songs like "Feel Special" and "One In a Million," they've openly shared the dedication and resilience it took to make it this far. They highlight the importance of unity and their special connection, both with each other and their fan base known as ONCE.

With YOU-th celebrates all that. It’s a journey navigating toward the calm after the storm, and a statement on the importance of friendship, love, and just having someone who can say "No matter what, you got me/ I got you/ And I wouldn’t want it any other way."

Ahead of the release, the nine members of TWICE (and a special appearance by Momo’s Norwich Terrier, Boo) chatted with GRAMMY.com over Zoom about their new album, the most significant moments in their career so far, and how they see themselves today.

The following interview has been edited for clarity and length.

Reflecting On The Present While Creating With YOU-Th

Nayeon: With YOU-th is meaningful in a way that it tells our story and reflects who we are at this moment.

Sana: Our [lead single], "One Spark," was supposed to be in one of our previous albums, but it didn't make it. [When] we chose it to be the single for this album, and we wanted to make it even better than it already was. We changed arrangements and the parts that we sang, and we also re-recorded the song to make it as perfect as possible.

Dahyun: The song that I wrote the lyrics for, "You Get Me," is a sequel to our pre-release single, "I Got You." The story continues in that there's a connection between the two songs. I also wrote lyrics for another song, but it didn't make it in this album and I'm hoping that it'll make it in the next album.

Experiencing An Unbelievable Debut — And Global Success

Jeongyeon: The first moment that really stuck with me was during the [2015 survival show] "Sixteen," where TWICE members were decided. Another moment was when we released our first single, "Like OOH-AHH." I cried a lot on that day.

Another moment [that I remember well] was the first time we topped the Korean music charts with [2016’s] "Cheer Up." It happened on May 5. I remember it very clearly.

Tzuyu: During the years that I was a trainee, some of the members were already chosen to debut [with TWICE], and I was not one of them. Whenever I watched them during monthly evaluations, I would always think about how perfect they are and how good they are. I never thought that I would be one of the members. The fact that I made it into TWICE and that it lasted so far is still really unbelievable for me.

Dahyun: When we first visited a broadcast station to perform on stage as TWICE, that was really memorable. I remember being so nervous in front of the fans. And I remember our first concert where I cried a lot.

Blinking Twice, Nearly 10 Years Have Flown By 

Jihyo: I sometimes look up our old concert videos on the internet, and when I watch them, I am impressed by how much improvement we made, and also how young we were and how hard we worked.

Sana: When we debuted, I thought our eighth anniversary would never come, but it happened so quickly. Our eighth anniversary fan meeting was so beautiful and we cherished it with our fans and all nine of us. That was such a precious moment. I'm just so grateful that we made it this far and all of us are healthy and happy. I think that's what matters the most.

Mina: Right before we signed the contracts again as a group [in 2022], we had a concert at Tokyo Dome. At this point, none of us knew what would happen, so we cried a lot and we were very anxious as well. That performance really stuck with me.

Twice Have Had To Overcome Hardships As A Team

Jihyo: Because everybody else talked about happy moments, I'm going to talk about the difficult times rather than the good times. I think the hardships made us solid as a team, and it really made me feel that I'm not alone in this. Whatever we go through, I'm not alone.

That feeling struck me hard when I released my solo album, [Zone]. I got so many cheers from the members and they helped me by doing all these challenges for Instagram. I really felt like difficult things are easier to overcome when we're together.

Every time when we're so busy and all of us are sensitive, it's much easier to get over yourself and think that you're not alone in this. All of the members are going through the same thing. That kind of thought really helps.

Remembering The "Glamor" Of Touring  

Momo: During our [last] tour, we would all get together in the hotel room and eat. For example, when we are in Japan, our favorite meal to eat together is udon noodles. And there was this one particular day that each of us got into the shower right after the concert, and the hot water didn't come out, so all of us in our respective bathrooms screamed at the same time. That was really funny.

Chaeyoung: Last year, during the promotions for "Set Me Free," we visited the United States for two weeks. Every day we had three or four [performance] schedules, and it made me feel like I was back to the newly-debuted times of our group. It was physically challenging, but we got over it, and it’s now a good memory. The most striking part was when we went to the Empire State, and they lit up the whole [Empire State] building with TWICE’s official colors.

Dahyun: There was also a concert in Japan where we performed on a big, round stage. I remember all of us members holding hands and circling around, and that somehow stuck with me. I also remember vividly the first time we got an award overseas, in America.

TWICE Want To Face The Future Together

Nayeon: In the last scene of the music video for "I Got You," we are sailing on a ship in the middle of the ocean. I thought that it was a reflection of where we are, career-wise and in our lives. Of course we had difficult times, but I think that going through all of it together solidified us as a group. I'm not going to say that we have a clear destination point now, but what matters is that we are together, and that is something very clear and solid.

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For the rising K-pop girl group LE SSERAFIM, their most “Perfect Night” might consist of partying with your closest friends from dusk to dawn. Or, in this case, spending an evening in Los Angeles with their loyal fanbase, FEARNOT.

In this episode of Global Spin Live, watch the quintet light up the GRAMMY Museum stage with a premiere performance of their latest single. They take turns at the center before quickly positioning into a new formation.

“I got all I need/ You know nothing else can beat/ The way that I feel when I'm dancin' with my girls,” they cheer in the chorus. “Perfect energy/ Yeah, we flawless, yeah, we free/ There's no better feelin' in the whole wide world.”

Released on Oct. 27, "Perfect Night" is LE SSERAFIM's first all-English track, co-written by member HUH YUNJIN. The group teamed up with the video game 'Overwatch 2' to create the animations for the music video; they later promoted the track at the gaming convention BlizzCon 2023.

Global Spin Live is held in conjunction with GRAMMY Museum and GRAMMY.com as a live extension of the popular online series Global Spin, showcasing Global Music artists. Press play on the video above to watch LE SSERAFIM's infectious performance of "Perfect Night," and check back to GRAMMY.com for more new episodes of Global Spin.

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