What We Learned at AOMG’s Los Angeles Show

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AOMG artists Jay Park,Simon D, Gray, Loco, and DJ Pumkin turned the Koreatown staple The Wiltern in Los Angeles way up on Apr. 14 with their AOMG Follow the Movement 2016 American Tour. Their show at the City of Angels was part of the home stretch of their eight-city tour, and despite them being a bit sick and on their fourth show back-to-back, the guys put out an outstanding performance to a full house.

Each rapper performed a set of about nine songs each, which given their repertoires might seem as very view. But with energetic performances of “Dang, Dang, Dang,” “You Know,” and “I Like 2 Party,” the rappers curated a perfect show that gave the audience a crash course on AOMG excellency.

The L.A. AOMG show was one of those “you had to be there” experiences that don’t come around often. It might have been a fast two-hour show, but it will go down as one of the most fun Korean rap shows of the last few years. And while we can’t make a complete recap of the night (again, you had to be there!), we can share a few highlights of the night and what we learned about Korea’s hottest hip hop label and rappers.

1. Jay Park’s Not Afraid of Getting Groped

There’s no denying that Jay Park is hot. That, of course, is not an invitation for fans or anyone to touch and grope him though. It’s common practice that when K-pop idols go into the audience during their shows, they’re kind of freaked out by the number of fans reaching out to grab them (I specifically remember one nervous Sungyeol at Infinite’s Los Angeles show back in January). They’re generally visibly uncomfortable but push through it because they’re professionals and want to please the fans.

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by Yasamine Entesari

Mr. Jay Park however seemed like he didn’t have a major problem with that. Not only did he go into the audience during one of the last few songs of the L.A. show, but he did it at every stop of the U.S. tour. Fangirls went crazy, and yet, he continued to do it. For the Los Angeles show, Jay flocked to a group of male fans in the audience and jumped and sang around with them. He appeared genuinely appreciative of his male fans who he knows aren’t all there to see him strip, like one fan suggested right at the start of his set.


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2. Simon D’s Popularity is No Joke

When it comes to shows with multiple artists, the pace is set to build up momentum for the main act at the end. And yet, that wasn’t the case with AOMG. With zero build up, Simon D opened the night to a crowd that went from zero to 100 instantly just at the sight of him; no hype men needed. Not to mention that the three opening songs were “Simon Says,” “Simon Dominic,” and “Won and Only,” which only got people dancing, singing, and waving their hands that more excitedly.

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by Yasamine Entesari

Even if he had the shortest set of the night (debatable, since Loco and Gray performed together), more than a couple of people were absolutely moved by Simon’s mere presence. After a long career where he had to overcome adversity, it was mind blowing how he’s still going and is stronger than ever; the fans’ reaction back this up.

Fans recognize his struggle and that’s why they’ve stuck with him. Jay, his abs, and his “Mommae” dance might have drawn the most screams and cheers from the audience, but Simon D just by his verses came at a close second.

3. Gray Needs to Go Back to Rapping ASAP

Despite him being a popular rapper, especially among female fans, he’s only released one mini album way back in 2013. That’s an eternity in Korean entertainment time! And we get it, he’s produced a lot of great songs for artists like Zion T., Dok2, Infinite H, and of course his AOMG label mates because he’s awesome at it. But if something was made clear on the night of the show is that Gray needs to get in front of a mic already. Three years with no new material, but the boy is not rusty at all and killed his set, performing his EP jams like “Dream Chaser” and “In My Head.” He also gave Loco a hand with his hit “Respect,” and performed their collaborative tracks “If I” and “Just Do it” together. So what is he waiting for? We’re all so ready for this.

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by Yasamine Entesari

4. Loco is Awkwardly Adorable When he Comes Out of His Shell

On his music videos or shows like “Show Me the Money,” Loco comes off as your typical rapper who spits fire and gets pumped through performances. Maybe it’s because we don’t have access to see him in “real” life like we do with K-pop idols or other rappers who appear on variety shows, but we had no idea he was such a cutie pie. It was interesting and endearing to see him drops bars on tracks like “High No More” and “Dangerous” and then turn and bashfully interact with fans while Gray was rapping his verses. Plus, he has this signature head bob that’s quick and not intense, like he’s bopping to a Disney song, even though it’s rap. When we talk about rappers, we generally use words like “hot” or “dope” to describe them. “Cute” is a word we reserve for idols. Well, Loco is the cute rapper and we’re totally digging it.

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by Yasamine Entesari

5. We Need More Cha Cha

We not only need a Cha Cha beat, boy, we just need him around. Always. For the L.A. stop, Cha Cha attended the show and mostly watched in the side lines. But at the end of the show, when Jay, Simon, Gray, and Loco were all performing together, Cha Cha joined DJ Pumpkin at the DJ booth and even rapped along and repeated punch lines. Why he’s not more involved in the shows is beyond us, but we certainly would appreciate his presence and input more.


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6. AOMG is Truly the Best

Somewhere at the start of every set, each rapper explained and apologized for being sick. Despite being ill they were all in high spirits and energy, and even if they said they’re voices might crack or they could cough at some point, it went unnoticed. The AOMG guys gave it their best and it was enough, for there was not a single dull moment in the night.

And to think that Jay and Simon D, AOMG’s CEO’s, at some point could’ve given up on their careers after facing hardships. Instead, they joined forces and created the hottest Korean hip hop label that sets the trends and changes how the genre is viewed. Not only that but they also create and give opportunities to emerging rappers, singers, and producers, all while giving their share of the pie.

aomg jay park follow the movement los angeles

by Yasamine Entesari

Major entertainment companies like to use words like “family” or “town” to describe their artist rosters, even if this isn’t entirely true. AOMG, however, the thing about them that makes them so rad is the fact that they truly are bros. Whether they’re on each other’s songs, or performing one’s tracks as a group (Jay’s “BO$$” and Loco’s “No Manners”), the genuine camaraderie in undeniable. This is exactly what makes AOMG frontrunners in the game and what will keep on packing shows all over the world. They’re the real deal and they’re shows are fun af.

loco gray aomg los angeles follow the movement

by Yasamine Entesari

Who’s your favorite AOMG artist? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

K-Drama Rating Underdogs: ‘Come Back Ahjussi’ & ‘Memory’

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K-drama blockbuster KBS’s “Descendants of The Sun” ended its highly successful run after sixteen episodes with a nationwide viewership rating of 38.8%, a feat that has not been accomplished ever since 2013’s “The Moon That Embraces The Sun.” With its stylish cinematography, gorgeous cast and riveting storyline, it is no wonder that the drama attracted so many viewers, both in Korea and all over the world. For an industry that has not seen dramas with greater than 20% in a long time, “Descendants” has brought about a revival and perhaps even started a trend for pre-produced K-dramas. For all its success, however, there were dramas which suffered because of Descendants, such as SBS’s “Come Back Ahjussi,” which shared the same time slot, and other dramas who are severely underrated such as tVN’s “Memory”.

”Come Back, Ahjussi”

Although the drama featured familiar names like Rain and Oh Yeon Seo, “Ahjussi” suffered from dismal ratings which further deteriorated as “Descendants” became increasingly popular. While the drama cannot be seen as a commercial success, it certainly delivered in terms of its production quality and hilarious storyline. At times ridiculous and side-splitting, at times emotional and heartwarming, “Ahjussi” achieved a perfect balance and was a thoroughly enjoyable show, despite its slightly illogical plot.

While the show was largely advertised to be one about reincarnation and gender-switching, it was actually one big family drama. The main ahjusshis in the show came back to Earth from Heaven because they were not ready to leave their “families” behind. Their main motivation was love, and through the comedic hijinks and craziness this motivation always showed. Along the way, new relationships were formed both with these reincarnated characters but more importantly between their loved ones who were left behind. The characters learnt to move on with their lives and the growth in each character through the show was lovely to watch.

The main standout of the series would be lead actress Oh Yeon Seo. She’s always been recognised for her good acting but it was not until this drama that she displayed her full comic potential. Without regard to her image or dignity, she perfectly portrayed her role of Han Gi Tak, a middle-aged man who got reincarnated into a woman’s body, all the way from the gruff mannerisms to the awkward balancing on high heels. Oh Yeon Seo imitated original actor Kim Soo Ro successfully and created a beautiful character that stole the show. She was fearless, innovative and steadfastly loyal but yet remained so human that it was easy to sympathize with her. She also enjoyed a surprising winning chemistry in her part love part BFF relationship with Honey Lee, who managed to show off her humorous chops as well. Oh Yeon Seo really put on a stellar performance in this series and I’m looking forward to seeing more of her.

via @banghae on tumblr

Her co-actor Rain did splendidly as well and it was great to see him embrace his comedic side once again in a drama (the previous comedy he did was “Full House” in 2004). From admiring his ass in a lift to spazzing about his own chocolate abs, his portrayal of Kim Young Kwon was flawless and totally believable. Young Kwon might have been narrow-minded and slightly frustrating but Rain’s portrayal helped to make the character more lovable, if not relatable. His relationship with Oh Yeon Seo defied all the K-drama rules of romance and was really refreshing to watch. This drama is a rare gem which got the gender switching right and used it to its full potential.

via @dalpengi on tumblr


Also on Kultscene: Which B.A.P Member Are You? + Live On Earth World Tour North America Info

”Memory”

While “Ahjussi” did not pull in high ratings in Korea it did garner an international fanbase but there is another currently airing K-drama that has been floating under the radar ever since it started its run. This is none other than the drama, “Memory” which stars Lee Sung Min (known most recently for his role in “Misaeng” ) as a lawyer with Alzheimer’s. At first glance, this plot seems extremely similar to the recent drama Remember: War Of The Son,” which featured Yoo Seung Ho in the similar role of a lawyer who also suffered Alzheimer’s. At a deeper level, however, the dramas are inherently different, in terms of realism, themes, and even the focus of the drama. For one thing, “Memory” definitely gives a more accurate portrayal of Alzheimer’s Disease. With the disease striking a middle-aged character like Lee Sung Min’s Park Tae Seok, the symptoms and problems that he goes through as a result of his diagnosis definitely feel more real and recognisable in our current society.

Despite its title, “Memory” isn’t all about Alzheimer’s; it is a drama which has many important messages to convey whether it is highlighting social inequality or bullying situations in schools. The conflicts and tragedies in this drama are fleshed out and realistic and could occasionally make for a depressing watch but at the same time is trulycaptivating. There is also an undercurrent of hope that ties the drama together, a sense of optimism which is present in each character, even if it’s not explicitly shown. It’s the same optimism which drives Park Tae Seok to keep fighting his disease, the same spirit that keeps his colleague Jung Jin (Lee Junho) motivated to stand up for justice, the same courage that allows Seo Young Joo (Kim Ji Soo playing Lee Sung Min’s character’s wife) to keep smiling even as her family falls apart.

“Memory” is a beautifully produced drama, with poignant and relevant scenes at every bend. The character arcs of the various main characters are nicely drawn out, the best of which would be Park Tae Seok. He started out looking like a heartless and vicious lawyer but as his disease started to change him, both physically and mentally, his perspective on life shifted. Rather than dismissing him as a normal cliche character who turns over a new leaf because of a terminal illness, I would argue that Park Tae Seok was just reverting back to his original self – the self that would fight for justice even if he would not benefit from it, who valued his family and friends over money, the self that would not give up. Watching him evolve as a character and the transformations in his relationships with his family or the people around him is a gratifying experience, one which I can only credit to the tight writing of the drama.


Also on Kultscene: Why You Should Watch Korean Film ‘Time Renegades’ 

Lee Sung Min, of course, is killing it in his role. His ability to internalize and inhibit his character is astounding and is a big reason why Park Tae Seok has become so real in the drama. His every word and action is sincere and he really carries the show emotionally. He also has great chemistry with the other members of the cast like Jung Jin whom he has created an adorable bromance with. Their banters are natural and light-hearted which bring about some much needed humor in an otherwise melancholic story.

Speaking of Jung Jin, Lee Junho ( of the K-pop boy band 2PM) is doing a great job in his debut drama role. Granted, he has quite a lot of acting experience from the few movies that he’s starred in, but the natural way he presents the character helps to make the character more relatable and likeable. He’s holding his own well in front of veteran actors like Lee Sungmin too and I hope he’ll get more opportunities to act in the future.

The two underdog dramas I’ve mentioned above are underrated for different reasons, but here’s to hoping that they’ll get their due recognition soon.

Have you watched any of the dramas listed above? What is your opinion on K-drama viewership ratings? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

Rock Bottom on Top in London [INTERVIEW]

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Sitting in the venue’s pub, World’s End in London, a few hours before the show I started to feel vibrations in my chest and feet. Although loud, it was clearly not due to the heavy metal being played in the bar. I realised soon after that it was the soundcheck of the people I was here to see; I knew then that Rock Bottom were going to be up for this performance.

It also got me thinking about why a South Korean hip-hop crew was playing in The Underworld, a venue known for its heavy metal. To find out, I asked them about hip-hop’s rising popularity in Korea in a short interview before the gig. “There’s been a lot of ball crossing in Korea recently, which has made it more approachable,” answered Kidoh, who spoke the most, presumably referring to shows like “Show Me The Money” and chart topping collaborations between vocalists such as Sistar singer Soyou and rappers of the likes of Mad Clown. Yet Rock Bottom don’t identify with this more popular strand of rap. Referring to the Korean public they said, “They don’t know us, we are lowkey.” Maybe that’s why they’re playing a sold out international show.


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The main reason why they could be there was clear when I saw and, more importantly, heard the crowd. The majority young female crowd screamed at any sight of the members of Rock Bottom but never more so than for the aforementioned Kidoh. A former member of K-pop group Topp Dogg, he along with BTS collaborator Supreme Boi were the main attractions. Even so, the others certainly ended the night with some new fans.

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i11evn was to be another big part of the show, but couldn’t make it so was replaced by Marvel J, who was only announced a week before the show. I was disappointed at first because i11evn’s “Siwi” was the song I was most looking forward to, but Marvel J more than made up for it. Having to inform fans of i11evn’s no show and open the show was a difficult task for Marvel J since he is probably the least well known of the whole crew. His energy, however, was palpable from the first song. He strode around the stage with great confidence; his impeccable flow never disturbed by fatigue. By the time he was trying out new track “Dak Galbi” the crowd was so with him that there was no chance of the song bombing. He got up close and personal with the crowd, sprayed water from his bottle everywhere, and involved the crowd without being too obvious.

When I say Marvel J more than made it up for i11evn’s absence, I really mean it. Whenever he was off stage, the night took a dip. Supreme Boi was up next after being introduced with “Uranus,” a duet with Marvel J. Most of his songs were actually the more interesting productions of the whole show, but didn’t translate as well as Marvel J’s simple trap tracks into a live performance. Vapourwave anthem “Hawaii” was his clear highlight and Type-C got onstage to help him out by shouting a bit and drinking a lot. Supreme Boi told me that this sound comes from one of their favourite producers at the moment, 회사AUTO. I asked them if vapourwave separated them from other Korean hip-hop artists of the moment, Kidoh answered that they don’t even know other people in the scene.

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Supreme Boi pleased the crowd well, though, especially with his references to grime, the UK’s own brand of hip-hop. He sampled man of the moment Stormzy in one track and later told me he also loved Skepta and Wiley, other UK artists; he certainly did his homework. Another track that got big screams was “Cypher 3: Killer,” which is Supreme Boi’s track with BTS’ rap line. Interestingly, he only performed Rap Monster’s part, probably because it is the most energetic of them all. It certainly worked as it was his most aggressive moment on stage and was the only time I really felt like he could take off.

Supreme Boi was followed by crowd favourite Kidoh, who tried hard with less material than the rest of them. He jumped around a lot but never seemed to be fully into it. His main track “Pretty Mofucka” is disappointingly generic trap and did little for me live. I was happy to see him perform his new song “Ride,” which takes more of the vapourwave influences. The performance lost out, though, by not having female vocalist DUVV there to sing along or someone else to take her place.

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Also on KultScene: Two Years Later Sewol Ferry Accident Still Resonates in K-Pop Memory

They all came alive again, however, when the three of them performed together. Rock Bottom anthem “Nicki Minaj Girls” particularly worked well. It showcased not just their talent as individual rappers but also their unity as a whole team, a team that Kidoh says is built on a healthy amount of conflict everyday. “KFC” also went down well and was the only song that the crowd lapped up and joined in on. It was odd, however, hearing a group of young girls chant back “wreck that pussy” throughout.

This sort of brushing over of the details is part of a big problem in Korean hip-hop for me. Before the show, they told me they were unique because they were able to stretch beyond boundaries. But, unfortunately, they showed little real sign of doing this in London. Not that it wasn’t a good gig; it was exciting and a lot of fun, but nothing about it was concurrent to average rap. Rapping about wrecking pussy and being the best is tired and, frankly, such a trope that it only ever feels dishonest. All the macho posturing is too self-conscious for its own good. Although they do have interesting sounds to distinguish themselves, Rock Bottom have a long way to go alongside Korean hip-hop as a whole.

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Were you at Rock Bottom?  What did you think of the concert? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

Two Years Later Sewol Ferry Accident Still Resonates in K-Pop Memory

Sewol Wendy Red Velvet

April 16 marks the second anniversary of the Sewol Ferry catastrophe that resulted in the death of 304 people and sparked introspection of South Korea’s socio-political society. While two years have passed since the sinking, the pain is still raw and many South Koreans continue to demand recognition for what is perceived as an avoidable accident that took the lives of hundreds, many of whom were students at Danwan High School. The effect of any tragedy on art is profound but it’s particularly striking that fans are looking towards K-pop, a musical style that is often perceived as artistically shallow, to find some connection to the youth who passed away during the Sewol ferry’s sinking.

Just as media often reflects current events, K-pop and the general Korean entertainment industry are also still recoiling from the haunting event. While K-pop took a break once to remember those lost, now many Korean songs are being interpreted as memorials dedicated to the Sewol Ferry victims. As K-pop continues to develop into a more mature brand, audiences seek to find a deeper meaning in the musical releases of Korean pop culture. Red Velvet, INFINITE’s Kim Sungkyu, and Block B’s Zico are just a few of the K-pop acts who have been connected to the sinking.

Back in 2014, the entire South Korean entertainment world came to a halt following the tragedy. South Korea’s confucian, communal heritage came to light internationally for the first time in several years during the situation as the entire country came together to commemorate the accident. For more than a month, the Korean pop culture world creeped along trying not to break the tense situation nationwide with what would be deemed inappropriate during a time of mourning. The industry came to a stand still, with few television stations running their normal programming and other forms of entertainment putting off plans; between Block B’s release of “Jackpot” on April 14 and EXO reawakening K-pop on May 7 with “Overdose,” there was no mainstream K-pop music put out because the industry had come to a halt out of respect to the victims and their mourners.


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After life returned to relative normality in South Korea and as the country demanded answers to difficult questions, Korean pop culture still retained its connection to the tragedy. As one of the most defining events in the past few years of South Korean history and an incident that particularly struck young adults, the Sewol accident appears to be rearing its head in a variety of places. While some instances of commemoration were intentional, other instances appear to be coincidences that were discovered by South Koreans still struggling with the horror of what happened on April 14, 2014 as they look for meaning in the art.

Red Velvet “One Of These Nights”

With recurrent water motifs, Red Velvet’s latest concept demands a further look. The song, ostensibly about lovers separation and longing, features a music video that shows the five members of Red Velvet in a variety of scenes that fans thought were meant to symbolize the Sewol Ferry’s sinking and the ones they left behind. Fans drew together a variety of ideas relating the music video concept to Sewol, beginning with the concept pictures which featured paper boats, similar to ones used to commemorate the deceased.

Throughout the music video, the members are seen in a variety of scenes surrounded by water; Joy is perceived as a survivor as she alone climbs away, up a ladder. Wendy, soaking wet, climbs under a table as a representation of the children stuck on the boat who crawled. There are also scenes filmed in a hallway that appears similar to that of those on boats, and a sign with the words “AIS on 15-16.” The AIS, or the Automatic Identification System that helps track ships, aboard the Sewol ferry is suspected of not having functioned properly on April 15 and 16.

To further the idea, Joy is the sole member who wears yellow, the color of the ribbons that memorialize the Sewol Ferry victims, while the other members wear white hooded outfits. In traditional Korean culture, white represents death. Joy sings the haunting line, “It’s okay if I see you in my dreams, so let’s meet again” as the rest of the members disappear into darkness.

Neither Red Velvet nor SM Entertainment, the group’s company, commented on the perceived connections, but the abundance of imagery (especially the AIS sign) makes it very plausible that “One of These Nights” was purposely a memorial to Sewol’s victims.

Sungkyu “Kontrol”

The plot of the music video for “Kontrol” features Sungkyu searching for his younger sister and remembering how they lived happily together while creating a home in an alleyway. Yellow ribbons and life jackets also appear in the short video, leading to fan speculation that that video was somehow related to those who who perished aboard the Sewol ferry.

Like “One of These Nights,” there is an ample amount of water imagery, but “Kontrol” also features the passing of first the girl and then Sungkyu followed by the two of them finding one another in heaven while she is soaking wet, alluding to drowning. Throughout the music video, Sungkyu remembers the pair’s happier times together while wandering alone before presumably walking in front of a car. At the end, Sungkyu gives his sister a small plastic house in a toy to symbolize the home that they, and the students aboard the ferry, once had no longer return to.

Some interpreted the song’s title as condemnation towards the crewmembers and adults who were in charge who took control improperly of the sinking, leading to unnecessary loss of life.

Although Red Velvet have remained quiet about the alleged connection, Sungkyu publicly revealed that the deeper meaning had not been intended but that there are different ways to interpret any sort of art.


Also on KultScene: Which B.A.P Member Are You? + Live On Earth World Tour North America Info

The Ark “The Light

Like the aforementioned songs, the debut song of (reportedly disbanded) The Ark was released only a few days before the first anniversary of the Sewol disaster. The heart wrenching music video features the loving relationship of a mother and a daughter, and the tragic moment when the mother discovers through a news report that her daughter died in an accident. Although the music video featured a bus accident as the cause of death, the timing of the video’s release and the depiction of a parent sending her daughter on a school trip draws on the emotions connected with Sewol.

Zico “Tough Cookie” & “Well Done” feat. Ja Mezz

Block B, the only K-pop group to release a song the day of the tragic event, has a particular connection to the sinking and Zico took the event and immortalized it with these songs. While the previous songs mentioned in this piece all require speculation to make a connection between Sewol and the music or music videos, Zico made it extremely clear that his songs “Well Done” and “Tough Cookie” were dedicated to Sewol’s victims. Both songs have run times of four minutes and 16 seconds, symbolizing April 16. Prior to the release of both, Zico tweeted about the time codes so that fans were aware of his song’s created as memorials.

Zico also commemorated a Block B fan lost at Sewol by attending her funeral and dedicating a rap to her at a concert she had planned to attend prior to her passing.

Are there any other references to the Sewol Ferry you know of? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

Which B.A.P Member Are You? + Live On Earth World Tour North America Info

B.A.P Live On Earth 2016

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Today, April 14, is the kick off show of B.A.P‘s Live on Earth 2016 World Tour in North America. San Francisco’s BABYs (official fans) will be the first to greet the sextet to the country, while K-pop aficionados in Los Angeles, Vancouver Dallas, Chicago, Toronto, New York City, and Atlanta will also have the chance to meet B.A.P throughout the month. And for all of those BABYs in Mexico City, B.A.P will have one show in Mexico at the start of next month. Brought to the U.S in coordination by Powerhouse, the tour marks B.A.P’s first stateside appearances since a legal dispute that ended, happily, with B.A.P remaining as a whole and putting out the music fans have come to love.

So ahead of their concert, find out now which member of B.A.P you are most like!

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Tickets are still on sale for the tour through Ticketmaster, AXS, and Powerhouse, so if you want to see B.A.P while they are in this hempisphere you still have a bit of time to make your plans!

B.A.P’s 2016 North American Tour Dates

April 14- San Francisco, The Warfield

April 17- Los Angeles, Microsfot Theater

April 19- Vancouver, Orpheum

April 21- Dallas, Verizon Theater

April 23- Chicago, Rosemont Theater

April 24- Toronto, Massey Hall

April 25- New York, Playstation Theater

April 27- Atlanta, Cobb Energy Performing Arts Centre

May 1 – Mexico City, Pepsi Center WTC

Did you get who you thought it’d be? Are you going to any of B.A.P’s concerts or have you seen them in the past?? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

Why You Should Watch Korean Film ‘Time Renegades’

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Eight years after filmmaker Kwak Jae Young completed his “Sassy Girl” trilogy with “She Cyborg,” (along with hit “My Sassy Girl” and 2004’s “Windstruck”), the Korean filmmaker returns with his most thought-provoking film to date. “Time Renegades” forgoes the outspoken heroines of Kwak’s most well known films to date and offers us mind-game filled treat.

Without giving away too much, “Time Renegades” is the story of two men, Detective Gun Woo (played by Lee Jin Wook from “Miss Granny” and “I Need Romance 2”) and Ji Hwan (played by Cho Jung Seok from “Oh My Ghost” and “You Are The Best, Lee Soo Shin!”), who live in different time periods working together to save and solve the murder of the women they love, So Eun and Yoon Jung (played by Lim Soo Jung from “All About My Wife”), respectively. Confused? Yeah… that’s the point.

And if you’re thinking you’re going to have to wait until some streaming service uploads the film for you to watch it, you’re wrong. Well, as long as you live near Los Angeles, Fullerton, Washington D.C., New Jersey, Dallas, Seattle, Chicago, Atlanta, Vancouver, or Toronto. “Time Renegades” opens at CGV Cinemas on April 15 in LA, followed by the rest of the cities on April 22. What’s cool about this release is that we’re getting the movie merely two days after the official Korean premiere.

But if you’re still pondering on whether to go watch the film, here’s a bit of encouragement by someone who already watched it and will vouch for it.

[Disclaimer: This article contains minor spoilers. Nothing that would give away the movie, though.]


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Crime/Thriller Melodrama

For this film, Director Kwak stepped away from the rom-coms he has been recently putting out and tried his hand at a crime melodrama. The “thriller” part is kind of an overstatement though; it’s not that edgy compared to other Korean thrillers to date. I would say it’s more of a suspenseful mystery, since the viewers witness a few of the murders and we’re shown few details of the killer as they happen. The edge is always there, of course, with both detective Gun Woo and Ji Hwan chasing after the masked killer in their own time periods and trying to prevent accidents.

“Time Renegade” has a nice pace, although, at times, you’re kind of lost regarding when and how things happen. After a couple of meetings, detective Gun Woo and So Eun are totally into each other, plan out a date, and Gun Woo is distraught when So Eun goes missing. The link between Gun Woo and Ji Hwan — the whole point of the film — is introduced without much fanfare and they both completely accept that they can look into the minds of another man 30 years apart in time. No biggie.

As mentioned before, because of the mystery and the fast pace, the viewer is completely immersed in the film. Any little detail might help you solve the case; you need to keep an eye out. Blink and you’ll miss it.

No Time Traveling Cheesiness

While movie is being advertised as a “time traveling” thriller, it really isn’t. Even the director, according to Yonhap News, has refrained for such a description and opts for “time chasing” instead. This is evident the moment the film starts. Instead of time traveling in order to prevent an epic murder that affects both Detective Gun Woo and Ji Hwan, each protagonist lives in their own parallel universe. Gun Woo lives in 2015 while Ji Hwan lives in 1983, both co-existing in different points in time.

They are, however, connected through their dreams. It’s not the actual characters who travel through time, but the information. Gun Woo reads the 1983 result of a Korea vs. Uruguay game in 2015 in an old newspaper, which is then transmitted to Ji Hwan in 1983. This exchange is the plot’s driving force and how they both chase after a serial killer. I can think of movies with time traveling machines and hot tubs, where the characters go back to see their wives or whatever. But this is the first (that I can think of) that uses “time traveling” with information. Coming from tech savvy South Korea, the premise makes sense; the plot resembles the way the Internet can transport you anywhere; you’re not really there, it’s just data and information.

Plot Focused Without Eye Candy Nonsense

Of course the actors are all handsome and pretty in their own right. No one’s saying they’re not or that you won’t enjoy looking at them for almost two hours. But contrary to other Korean films that cast the hottest Hallyu actors and include unnecessary shower scenes, “Time Renegades” doesn’t make use of that crutch.The viewer is meant to focus on the intricacies of the plot rather than the attractiveness of the stars. And with Detective Gun Woo and Ji Hwan altering history left and right, one distraction and you might miss the whole point.

Even if it’s not rare, it’s still refreshing to watch a Korean (or really any) movie where you can immerse yourself into the story just because it’s that good and not be distracted by pretty people on screen. Also, kudos for writing a script that is just that captivating!


Also on KultScene: Weekly K-Pop Faves April 3-9: Chen & Heize, Mamamoo, NCT U, & LABOUM

No Need To Worry. It All Makes Sense In The End

I hinted at the beginning that there are some points in the story that don’t make all that much sense but come across as if you should just disregard them to move on with the storyline. Ok, Gun Woo and So Eun fall in love in like two seconds, that happens in every rom-com nowadays. Oh wow, So Eun and Yoon Jung look exactly the same for no apparent reason, that’s cool. But nooooooo! Just you wait until the last moment — literally the last scene — for it all to come together and have that “aha!” moment we needed.

Seriously, The Ending Was Precious

I won’t spoil the movie for you, but if you watched the 2012 K-drama “Arang and the Magistrate,” the movie’s ending is what you wanted for Arang and Eun Oh at the end. That’s all I’m saying!

Check out the trailer here:

Are you planning on watching “Time Renegades?” Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

The Hallyu Attorney: Entertainment Lawyer David Kim Talks About New Media, K-Pop & More

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New media emerges so quickly that copyright and liability laws continue to be reframed to fit the evolving scene; it’s not easy to decide what’s considered fair use and what’s copyright infringement in media that didn’t exist 10 years or even 10 weeks ago. The question is always out there and the landscape of entertainment law that is here today may be changed tomorrow. When we think about transnational media laws, particularly in regards to K-pop and other pop culture exports that surpass national boundaries, there’s a bit of a juggling act going on. Luckily, that’s what people like David Kim are for.

Los Angeles based entertainment attorney, actor, and musician David Yung Ho Kim is often asked for his advice on the evolving legal ramifications of new media. It’s a large part of what he does for legal practice, The Hollywood Lawyer, which focuses on film, television, music, licensing, new media, and talent representation.

Yet Kim might never have been a lawyer had his father not insisted. “He sat my brother and me down,” said Kim over the phone. “He told my brother, you be a doctor. Then he said, You be a lawyer.” At the time Kim was more interested in politics and entertainment, so he hoped for a way to combine law with his interests. However, he knew he did not want to work in Washington, D.C., where the world of politics would take him.


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After graduating from University of California, Berkeley, with cum laude honors, he studied law at the Benjamin N. Cardozo School of Law in New York City. Then he practiced law in a variety of capacities, including serving at the Los Angeles District Attorney’s office, working at JYP USA, and in the Business and Legal Affairs Division of CJ Entertainment America. After serving as in-house legal counsel for an LA-based talent management and film production company, Kim launched The Hollywood Lawyer.

“I thought, I could do this on my own, so I started my own entertainment practice,” he said. Established less than two years ago, the practice currently employs two other attorneys and two support staff. “The entertainment part happened because I already had friends in the Korean entertainment industry, singers, and actors,” said Kim. “I ended up doing their legal work as well. Everything aligned and in a way I became the go-to-guy for Korean entertainment stuff in LA.”

Kim was prepared for the legal challenges posed by new media. After working as a research assistant to Professor Robert Brauneis, a scholar in the area of copyright and trademark law, Kim was well versed in intellectual property rights. He also had friends working in digital media. “They would occasionally ask me questions about their entertainment contracts and other legal issues related to their careers and I thought this could be another practice,” said Kim.

Copyright law is not only about major entertainment companies cracking down on singers making cover songs on YouTube. It’s also about protecting independent artists from having their rights infringed in a variety of media. “If you’re not a big studio and not a big production company, independent creatives get their stuff ripped off. There’s so much content out there now. It’s hard to keep tabs on each and every piece. We are in an age of content explosion. It’s hard to monitor what’s being infringed on and what’s original.”

But as many copyright questions as digital technology raises, Kim agrees that it helped make the Hallyu an international phenomenon. “It definitely worked to K-pop’s advantage,” he said. “When the Wonder Girls went on Youtube [in 2009], it was on its ascent. You might visit any random Asian country and everyone would know who the Wonder Girls were. Technology solidified K-pop’s presence in Asia.”


Also on KultScene: NCT U’s ‘The 7th Sense’ & ‘Without You’ Music Video & Song Review

Timing also has something to do with the promotion of Hallyu. “Any other country could have done it but I feel like the timing was perfect,” said Kim. “K-pop found its niche. Other countries in Asia were not producing so much of their own content so Korean content exploded in popularity. They wanted the music and the dramas. At the same time there was a digital explosion as well in the U.S. but because there was already so much content being produced in the U.S., Korean content did not enter the market as strongly here as it did in Asia.”

But the time for the Hallyu to conquer the U.S. may soon be approaching. “It’s all in the timing,” said Kim. “Psy may have been a flash in the pan, but recently America has slowly become aware of the fact that its content is a little too homogeneous. Consumers are looking for something different, something that is new and hip. Yes, Girls’ Generation appeared on David Letterman [in 2012]. Yes, Stephen Colbert did his “Rain!!!!” thing [in 2007] and yeah, that was funny, but the timing wasn’t right. Now is the perfect time. America is ready to connect with the Hallyu as long as the Hallyu can connect with American culture.”

The same weekend that this interview took place, American late night talk show host Conan O’Brien and Korean-American actor Steven Yeun took part in a k-pop video with J.Y. Park. Within three days that video received over one million hits.

Kim is a K-pop fan, citing Red Velvet as one of his favorite new groups although he says he tends to prefer iconic kpop acts such as SS501. And although he started watching dramas with his family at the age of six, these days he rarely has time to indulge in a marathon. Every now and then someone tells him he must watch a drama and he gives in. The last one he saw was “You Who Came From The Stars” and before that it was “My Lovely Kim Sam Soon.” “They’re very addictive,” he said.

Although the past few years have seen several K-dramas optioned for U.S. adaptation, Kim suggests that they may require significant alteration to appeal to a wider U.S. audience. “Korean variety shows have a better chance being adapted for over here,” he said. “Even among my clients, some players in the industry are carefully watching the Korean entertainment industry now and have variety shows in development. Dramas and sitcoms do have cultural elements embedded in them and it would be a little harder for U.S. audiences to connect with them, but who knows?”

Besides his busy law practice, Kim is also an actor and a musician. He’s landed a few acting gigs, some commercials, but he’s still a Hollywood hopeful. “I’m waiting to snag a regular role,” said Kim. Fortunately, he won’t have to wait tables while going on auditions.

What do you think about the complexities of international law and K-pop? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

NCT U’s ‘The 7th Sense’ & ‘Without You’ Music Video & Song Review

NCT-U

SM Entertainment have long had an image of a more sweet and safe counterpart to YG Entertainment’s edgy western influenced looks and sounds. SM, however, have built their foundation on truly innovative concepts all based in more palatable (for a Korean audience) pop music. Songs like TVXQ’s “Rising Sun” and Girls’ Generation’s “I Got A Boy” are unprecedented in their experimentation with the pop form. f(x) as a group were conceived as a way of bringing art pop into K-pop. For all their weirdness though, all of those groups and more always had quality songs to back it up which allowed the innovation to be accepted.

Lee Soo Man moves onto his next big project with NCT, short for Neo Cultural Technology. The plan for NCT is to be a fluid group consisting of an unknown amount members made up of SM rookies. Sub-units will be formed from them and release music in different parts around the world. Kind of like the original idea for EXO, who debuted as two subunits focusing on each the Korean and Chinese markets, but on a much larger scale. NCT U are the first unit to debut with “The 7th Sense” and “Without You”. NCT U are made up of South Koreans Doyoung, Taeyong, and Jaehyun, Canadian Mark, and Thai member Ten. I do want to discuss the overall concept, but first and most importantly is the music.

Jaehyun, Doyoung, Taeyong, Mark, and Ten: ”The 7th Sense”

“The 7th Sense” is a perfect start for a group like this. It’s a slow burn that manages to be unwieldy at the same time. Its sound is familiar to western audiences as a mix of R&B and trap that has become popular over the last five years or so. Along with the lyrics, NCT U bring a certain otherworldly nature to the song. There’s an uncertainty to everything about it. The lyrics are about these waking and sleeping dreams that haunt the members of their past and future, “Yesterday is today, Today is yesterday, I’m only filled with late self-guilt.” They want to take it slow, let the song itself open their eyes onto better futures.

“The clock laughs at me.” For better or worse, the song mirrors these ideas well structurally. The clock also laughs at the audience by not letting much happen between each part of the song. A rolling bass synth and trap beat are introduced early in the song and sustain it the entire time. Elements are only ever taken out and put back in, nothing is added to change it up. The music is a dream, it is sparse, but seemingly never ending, pulling the listener physically onto the level of the lyrics. The vocals instead are used to transition the song. As a showcase of a new group this is where “The 7th Sense” works best. Each of the raps are unique with Taeyong’s droll delivery being the highlight and the vocalists kill it with some EXO like harmonies. It also means that we only know the song has moved on after someone starts singing or rapping. Each change is considerably different though, so when it does happen, we immediately know. Just like a dream, we only realise the setting has changed long after we have been there.


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The video and choreography top off these ideas by playing up the dreamlike state. The music video is almost always lit unconventionally. It uses lots of reds, oranges, and pinks for the group dance sequences. The solo parts range from some of those colours to prominent blues. It makes a mostly generic SM video into something a little more interesting.

The dance is similar in that it mixes more conventional styles with odd movements. Much of it is pretty quick hip hop with more stress placed on hand movements around the head. Like the song though, it never strays too far from slowing down to an almost complete stop. Taking it slow is clearly important. Also present, especially at the end of the video, are long arching moves. They seem martial arts inspired, offering a grace to the dance as it comes to an end.

Doyoung, Jaehyun, and Taeil: “Without You”

“Without You” is a move towards more mainstream pop. This is something that could be a huge hit if it were a proper release (maybe it is, NCT’s concept doesn’t specify how singles will be released). It’s a pop/rock track in the tradition of most K-pop rock groups like CNBLUE, FT Island, and now Day6. It’s a much more complete song than “The 7th Sense,” but is not half as interesting.

Again, as a showcase, it works well for their vocals. Each member is strong and pulls off the right emotions. However, “The 7th Sense” already did that and more, so really “Without You” feels like a way of just showing off that NCT U can do more than one genre. For a group with as weird a concept as NCT, this is disappointingly generic. I may be almost always against ballads, but they could have tried a little harder with something like EXO’s “What is Love” or Red Velvets recent “One of These Nights”.


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The lyrics are again surprisingly depressing. For two debut singles, this is an odd way to go. It’s about being utterly lonely without the one you love. It articulates it in interesting ways by referencing connections and living. In the context of NCT as a group, it speaks to the idea of their infinite members, connecting even if it is across the world is important. It’s a justification of the group itself.

In the music video I like the colours on display. SM have really taken to the washed out pastel trend ever since last year and it works here again. It seems that different colours are used to show different time period in the story of the video. They are contrasted well with the stark shadows of the wonderful opening images.

Overall Thoughts

One thing you obviously would have noticed is that different members performed both of the songs. The fluidity of NCT is strongly apparent with even their first unit being split up into smaller parts. This is something that interests me about this group. Collaborations have become a big trend in K-pop and this allows NCT to have an almost infinite number of different collaborations all without leaving the actual group for another partner. With large groups like this, they’re also prone to losing members, meaning that people can be swapped in and out with ease. Not only that, smaller sub units could be forgotten altogether as they may have served their purpose in the few weeks they promoted.

They are missing a trick however, by having only boys in the group. This could be expanded to include fluidity of gender, where a girl could swap in for a boy at times and vice versa. It could allow for more interesting takes on certain songs. I would also love to see some girls tackle material like “The 7th Sense,” which is so often deprived of them.

Musically, NCT at the moment have shown a variety of things that they could do. Both songs are marked by being little more than intros though. “The 7th Sense” is weird and interesting, but not quite there in terms of overall quality. It adds little to a fairly tired genre that could be invigorated by a young group like this. “Without You,” on the other hand, is even more generic. And yet, NCT don’t come close to being defined yet. Their very nature means there is so much more to come from performers all over the world. It’s an exciting prospect that brings the larger than life theatricality back to pop music K-pop adores. Watch the announcement video below to understand how Lee Soo Man sees NCT. They are kids from another planet here to take over the world, again like EXO on a bigger scale.

NCT U's 'The 7th Sense' & 'Without You'
  • 'Without You'
  • '7th Sense'
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What do you think of “The 7th Sense” and “Without You”?  Also what are your impressions of NCT as a whole? Share your picks and thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

Weekly K-Pop Faves April 3-9: Chen & Heize, Mamamoo, NCT U, & LABOUM

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As we’ve been doing for the past three weeks, instead of our normal Playlist Sunday we’re listing our weekly K-pop faves from this week. With so many releases and comebacks, it was hard to choose. But hey, someone’s gotta make these hard decisions.

“3 Strikes Out” by LABOUM (album released on April 6)

Starting their third year as a group, LABOUM continue with the colourful and cute style they are used to. Since debuting, they have failed to hit the heights of their first two singles, but have been consistently solid. Their latest mini album “Fresh Adventure” does little to change this but has one nice B-side that can be singled out. “3 Strikes Out” is busier than lead single “Journey to Atlantis” with pianos, synths, and all manner of percussion sounds. Each element twinkles with just the right amount of sweetness, never straying into sickly territory. The vocal range is also superior to the single, with similar chants but more variations and some rapping which works well. It also has the best stupid spoken English intro I’ve heard in awhile, “Oh let me introduce my boyfriend, he’s a jerk”.

— Joe


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“The 7th Sense” by NCT U (released April 8)

Seemingly out of nowhere, SM Entertainment slayed the internet with its newest group NCT U and their single “The 7th Sense.” As a group, they’re a mix of SHINee’s look and tight choreographies, with EXO’s buttery R&B vocals and interactive moves, and iKON’s hip hop sound. Even if the members are kids, there’s just something incredibly sensual about “The 7th Sense” that makes it irresistible. It’s like a The Weeknd-meets-EXO song with better rappers (yes, I went there). Oh, because that’s a new development: SM has good rappers now, yay! Mark and Taeyong are just… *fire emoji x 100* Plus, I don’t know if they’re writing their own lyrics, but I think it’s public consensus that “And that’s a long ass ride” is probably the best English line in a K-pop song ever. Why SM decided to make this a subunit of their of their massive group project thing (does anyone even understand what they really want to do with that though?), and not have these kids promote and be a legit group is beyond me. I am, however, very happy this exists and will take what SM gives me.

— Alexis

“Lil’ Something” by Chen (EXO) & Heize (released on April 7)

The latest weekly release from SM Entertainment, “Lil’ Something” is a delightful track with an adorable music video. Featuring Chen as a lovestruck backstage crew member and Heize as a fashion show designer, the music video showed their developing romance and was successful thanks to the great acting of the two singers. At some moments Chen even gave me Baek Seung Chan vibes (Kim Soo Hyun’s character in “The Producers”). The instrumentals of this song were as rich as Chen’s vocals and Heize’s raps suited the upbeat tempo relatively well. While her raps could have been more prominent in the song, it was a good collaboration and I’m definitely looking forward to the next release.

— Anna


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“Woohoo” by Mamamoo (released April 4)

Although it’s only a promotional song for LG, “Woohoo” is set to be one of Mamamoo’s most memorable tracks of 2016. The melodious upbeat style of the song suits Mamamoo’s vocal line perfectly while the bright concept matches the spring weather Seoul is experiencing. The funk and synth-pop elements fit in smoothly into the rest of Mamamoo’s repertoire, which has grown immensely in the last few months thanks to this and their latest album. Moonbyul’s rap comes across as anachronistic from the song upon first listen and downright jarring, to be honest. But she doesn’t disappoint even though it’s a bit out of place amidst the overall sunny song the swag-filled rap portion ends up falling in line with the rest of the parts of “Woohoo.” Spring-time songs do well in South Korea (I’m looking at you, “Cherry Blossom Ending”), and the all around musical sound and visual concept of “Woohoo” makes this something I’d love to see doing well.

— Tamar

What’s your favorite K-pop release from this week? Share your picks and thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

Teen Top Spoke to KultScene & Delivered an Exciting Show in New York City

Photo Credit Anna Lai

Photo Credit Anna Lai

Bringing their charisma and typical flare, Teen Top hyped up audiences aplenty in New York City on Saturday night. The RED POINT 2016 Teen Top US Live Tour brought Niel, L.Joe, C.A.P, Chunji, Changjo, and Ricky to Terminal 5 to perform in front of their dedicated fans, reuniting the group and New York area K-pop lovers for the fourth time in three years. Moreover, in a special pre-show interview, KultScene spoke to the act.

[Read the full interview at the bottom of the page.]

“Are you watching our performance today?” Asked Niel through a translator in the middle of the interview. “Scream loud and get excited.”

Starting off the night draped in passionate red suits with “It’s No Joke (Rocking),” the six twenty-something K-pop idols launched into their two-hour long set that switched off between frenetic dance songs, crooning ballads, and some show stopping hip hop numbers. The connection between the group and their fans was apparent as purple fanlights waved by hundreds of Angels, Teen Top’s official fanclub, lit up the concert hall as Teen Top performed old and new hits alike. The energy was clearly there, living up to a promise made by Teen Top earlier that evening.

“What’s different from our last time we were here [is that] we’re promoting our new songs and on top of that each individual has songs that they’ve written or produced so we want to perform that to for the fans in NY,” said Teen Top ahead of taking the stage. It was a lot to promise, considering that many concertgoers had seen Teen Top perform during the group’s 2014 tour and twice in 2015, during a free concert and KCON NY.


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The six members of Teen Top carried through on their words, with each song, from the beautiful rendition of ballad “Day” to the debut New York performance of their newest song “Warning Sign,” were presented in a fresh way, highlighting Teen Top’s maturity as a K-pop act that had reached the sixth year of their career. Although they were suffering from jetlag, Teen Top had Angels cheering with delight through songs like pump up anthem “Hot Like Fire” and the fan-dedicated “Angel.”

“This tour, we’re looking forward to providing energy to our audience,” said Teen Top. “We want to return the feedback we’ve gotten from our fans and give it back to them.” And Teen Top did just that, despite being visibly exhausted from their transcontinental flight and hectic tour schedule. Interspersing powerful group numbers with individual solo stages, Teen Top took the night at a steady, businesslike pace while offering up a variety of different interpretations of their iconic sleek sound and style.

The highlight of the night was clearly the solo performances. While coming across as a cohesive group during their group routines like “Ah-Ah” and “Don’t Drink,” Teen Top’s individual members spent much of the night reminding the crowd of the specific skills that make Teen Top’s members worthy of being members of a popular idol group.

L.Joe’s English took center stage as the rapper MC-ed the night, broken into group performances and solo stages, like Niel’s springtime “Affogato,” Chunji’s melancholic power ballad “Dream of a Doll,” Ricky and Changjo’s cover of Crush’s R&B tune “Sofa,” Changjo’s solo of “I Fancy You,” and C.A.P’s powerful ad-lib filled take on Action Bronson and Chance The Rapper’s “Baby Blue.”

With 27 songs, including encore song “Clap,” Teen Top’s show took New York Angels on a journey that ended far too early. But the fans there at the intimate concert that night were some of Teen Top’s most dedicated fans this side of the world and are sure to remember it for the rest of their lives.

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Our interview with Teen Top below.

KultScene: Welcome back to New York City. You’ve been here several times. How have you prepared something new for the Red Point tour?
Teen Top: What’s different from our last time we were here [is that] we’re promoting our new songs and on top of that each individual has songs that they’ve written or produced so we want to perform them for the fans in NY.


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KS: Can you tell us a bit about “Warning Sign” and how it’s something different from your other singles?
Teen Top: The difference between our new song and our previous songs is that they have different characteristics and different styles of music and different physical concepts.

KS: What are you looking forward to this trip?
Teen Top: What we’re looking forward to this tour is providing energy towards the crowds, we want to return the feedback we’ve gotten from our fans and give it back to them.

Niel: Are you watching our performance today?
KS: Yes.
Niel Scream loud and get excited.

KS: What does Teen Top have planned for the rest of the year?
Teen Top: For the rest of 2016, you can expect individual members to perform solos and star in dramas and musical. Very excited to see individual performances.

What do you think of Teen Top? Have you ever seen them perform live? Who else would you like KultScene to interview? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.