On September 1st, New York City was all hustle and bustle with summer parades and street festivals clogging the avenues in midtown, but turn down 43rd street and there you found a small crowd of people quietly lined up outside of The Town Hall for The Rose’s “We Rose You” tour. It has been over a year since The Rose was in New York and fans were excited to see how much the band has grown. After the doors opened, the audience quickly filled up the theater and waited for what would be a very memorable performance.
By Katherine Villalon
The Rose entered onto the stage, grabbed their instruments, and began to play the opening notes to “I.L.Y.” The fans erupted into cheers and screams as the band quietly played the cords until Woosung suddenly stopped. While they adjusted the volumes on their instruments and inner-ear pieces, Dojoon joked around with the audience, saying that the crowd is so lively that they could barely hear and that this would be a “special” performance. When they were ready to start again, Woosung playfully said, “Just pretend we just came on,” and began playing once again. As soon as the bridge started, the audience sang as loud as they could, almost drowning out Woosung’s powerful voice. The band immediately went onto “Insomnia,” with the audience continuing to sing along. After the song, the band had to stop again to adjust the volumes of the equipment. After many apologies and an impromptu sound-check, some of the band members ditched their inner-ear pieces and went old school, using the ledge speakers to play “I Don’t Know You.”
After a short introduction, the band started back up with the upbeat songs; during one of which Dojoon surprised everyone by grabbing the mic and delivering a rap verse that had the crowd shouting with excitement and throwing their hands in the air. And when the boys ventured out from behind their mics, you could really see them come alive, just jamming out on their guitars. During “California,” the audience yelled “young and wild” and sang along with the band’s new English-language song. Another popular song was the sentimental song “She’s in the Rain.” The band then briefly spoke to the audience during another quick volume adjustment about how they felt more connected to the audience because they can hear them so well.
By Katherine Villalon
The band went on to play a few covers including The Script’s “Breakeven” and Harry Styles’ “Sign of the Times.” After a few more songs, the members left the stage, leaving only Dojoon behind to sing a cover of James Bay’s “Hold Back the River.” Hajoon and Jaehyeong then came out next; trading in their usual instruments for two acoustic guitars and sang “Soldier” by Before You Exit. Woosung was last to take the stage and sang “Lonely” and “Face,” two songs off of his recent solo album.
The band then returned to the stage and called out the winners of Polaroid photos of the members before going right into a few more upbeat songs. Despite having to stop between almost every song, The Rose kept up their energy and their fans replied by giving it their all by cheering and dancing around; showing the band that they were still enjoying themselves. After “OMG,” the band kept the energy up with “Baby,” after which they announced the show was coming to an end.
After saying a few words and thanking the fans, The Rose immediately went into their mainstream debut song “Sorry.” The fans were louder than ever as they sang along to it. The band left the stage after “Take Me Down” but did not stay gone for long; the boys returned for the last song of the night, their new single “Red.” Showing no signs of slowing down, the band played happily as the fans sang and danced till the last note.
By Katherine Villalon
Though as soon as the band walked out onto stage that night they were plagued with audio trouble, through their sheer tenacity and with the encouraging screams of their fans The Rose was able to pull off an extremely memorable show. Like seasoned professionals, the band made sure to interact with the audience, either making witty banter or flashing hearts and smiles. And though there were pauses in the show, all went without anybody losing composure. Hopefully as The Rose continues on with their tour, they will be able to show their talents and put on even more memorable performances.
By Katherine Villalon
What’s your favorite song by The Rose? 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.
https://kultscene.com/wp-content/uploads/2019/09/IMG_9198ks.jpg533800Katherinehttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngKatherine2019-09-05 15:03:422019-11-21 15:19:39Fans say ‘We ROSE You’ to The Rose in New York City show
On Episode 44 of KultScene’s K-pop Unmuted, Teen Vogue’s Aamina Khan joins guest-host Scott Interrante and Stephen Knight to discuss the 2019 MTV VMAs, the new Best Kpop category, and the BTS snub. Our Unmuted Kpop Picks are Ha:tfelt’s “Happy Now”, Suran’s “Surfin'”, and AGUST D (Suga)’s “So Far Away”.
https://kultscene.com/wp-content/uploads/2019/08/artworks-000589692731-ilbqyc-t500x500.jpg500500KultScenehttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngKultScene2019-08-31 12:43:062019-09-04 21:25:46K-Pop Unmuted: BTS & the MTV VMAs
Day 2 of any KCON is almost always even more exciting than the first. You’ve just had a full convention and some concerts but the prospect of more makes it even better. The Sunday show took a different approach to its sets than Saturday. Instead of a noticeable flow between the groups, they went for independent greatness. Each group stood on their own and showed in less time than the previous night, who they truly are.
Like the Saturday, day 2 opened with its two smaller boy groups dancing to American pop tracks. AB6IX began by performing to Charlie Puth’s “Attention” and Verivery followed with “24K Magic” by Bruno Mars. It was Verivery who took the win here easily, AB6IX were admittedly slick but uninventive. Verivery brought great gestures to the stage but best of all they made good use of each other as props. At the beginning, the group slowly moves together to form a car right as Bruno sings “magic in the aiiirrrr.” The kicker was that they even had one member wraps his arms around the member who was in the driving seat to mimic a seatbelt. Later on two members then duck down to become a turntable and even stick their fingers up to be used as knobs by the would be DJ.
It was the turn of the girls this time to take the first set. In what was an interesting but good call, Mnet’s very own Fromis_9 opened with recent disco b-side “Love Rumpumpum.” It’s a great indicator of the kind of the group they are, loads of fun but so technically proficient and precise at the same time. This translated into what was the tightest set of the whole weekend. Latest single “Fun” came next and really got the crowd going. They were step perfect in their routines, popping off the stage with bright colours and beaming faces. Sadly they had to condense “DKDK” in half due to time constraints but the despair lasted about a millisecond as the blistering “Love Bomb” followed directly after. They gave no time to relax, no time to ponder the short set. The speed and accuracy at which they did things meant there were no regrets with potential songs they didn’t perform.
Seventeen’s American duo, Vernon and Josh, popped up next to tell a story about journeys to space. Their song “Rocket” is a cute little track that favours being here, between sets, thanks to its easy rhythms. Vernon in particular, looked like he was having a fun and nicely relaxed time. The performance unit joined them halfway through as backup dancers, before continuing the space theme with “Moonwalk.” Again it’s not their most impressive work but that wasn’t called for yet. It’s still great to see such professionals coast through a difficult if not quite intense choreography.
Verivery couldn’t quite match the inventiveness of their opening dance performance but they do have the tunes to at least bring some grooves. Finding an identity in New Jack Swing, Verivery’s songs all have big beats, big chords, and big choruses. “From Now” in particular has a chorus so good and memorable that you’d be singing along by the end of song regardless of having heard it before or not. Sadly it was a case of diminishing returns from then on. “Ring Ring Ring” and “Alright” trot out similar ideas with lesser execution. “Ring Ring Ring,” again has a catchy hook but it pales next to “From Now.” They’re not quite ready for a platform like this but no doubt they’ll get there.
Another group potentially not in a place to be on this stage are AB6IX. They are technically the newest group of the weekend but have plenty of experience with former Wanna One members Daehwi and Woojin. They were, however, without the injured Woojin for all of the dances.. K-pop groups are usually masters at concealing the fact that a member is missing, Seventeen would even do it later in the night. AB6IX however, made the major mistake of having Woojin sit on a chair to do his raps. Having him sit at the edge while the four others danced in the middle of the stage made the stage feel unnecessarily huge. The space between them was always palpable.
This was doubly sad given the choreography of their stunning debut “Breathe” is reliant on member interactions. For that song they still just about made it work but their other two, “Shining Stars” and “Hollywood” proved to be misses. Those tracks are not good enough to stand alone and are made even worse with the lack of a member. There were good points though, Daehwi is a phenomenal performer for the absolute grace in his movements. Many K-pop dances can make their routines look easy, very few can make it look like their swimming through the air like Daehwi does. Lead vocalist, Woong, also had the best belts of the weekend.
Fromis_9 returned with the rather boring “covering the big K-pop songs of the day” section. They ably covered Red Velvet’s “Red Flavour.” It’s a good match given the direction Fromis_9 are going in with “Love Bomb” and “Fun.” These covers are always bland though and they do never do much to change things up. SF9 introduced themselves next before their set with EXO’s “Love Shot.” This was slightly more interesting due to their dayglo suits that seemed to be missing whole pieces of clothing. A sexy sign of things to come from them.
The final girl group of the weekend were up next and thanks to their star member showed something we hadn’t seen until then. (G)I-DLE’s most recent single “Uh Oh” was first and immediately Jeon Soyeon was standing out. Her voice was heard loud above the music, a rare thing over the weekend. She relished every moment on the mic, not being able to stop her smile every time the crowd roared for her. She played off of them, directing herself around the venue as well as at the camera. Soyeon was not afraid to detach herself from the focused expressions and pure commitment to choreography. They went on to blast through all of their singles, a shortened version of “Hann,” “Latata,” and finishing on “Senorita.” Soyeon would grow further into her role as the rest performed their functions. Soojin’s sleek, sensual dance was the only thing to come close to matching Soyeon.
SF9 proved to be the most sensual group of the weekend with their set. They left behind the primary colour suits and replaced with them clothes not so far from bondage. Right from the distorted guitars in their intro number, everything was geared towards a tough, masculine sexuality. No better is this demonstrated than in the heavy percussion and bass of “RPM.” This brought up the pace and kept it high even for “O Sole Mio.” It’s a song that would actually favour a slightly calmer presence but SF9 wanted it intense and they brought it. This was all set up for the banger of their lives, “Now or Never.” Led in the chorus by the infallibly cool Hwiyoung, SF9 delivered the deep electro with a perfectly effortless intensity. Pulling it off so well also meant they could end the night the decidedly more laid back “Play Hard.”
Before the long anticipated headliners arrived, (G)I-DLE were back on stage for the KCON classic Broadway musical cover. Befitting the girl crush image of them, (G)I-DLE chose “All That Jazz” from Chicago. Obviously “Cell Block Tango” would have been a much better choice but there’s also obvious reasons as to why they didn’t perform that one. As it was “All That Jazz” was a solid, mostly low energy number. It didn’t do much to show off the members, it would have if they were singing live but alas.
It was time for Seventeen. There’s little to add when it comes to these 13 boys. In a debate over the great K-pop live performers they would certainly be near the top. With only five songs, they can transform a night from a collective of K-pop groups to a full blown Seventeen show. The level of fun and individuality they bring to every performance is unprecedented. The effort and energy that goes into more recent songs like set opener “Getting Closer,” is no different from them revisiting their debut, “Adore U.” Seventeen have the same zeal for being on stage now as they did back then, maybe even more so. No one exemplifies this better than Hoshi. No single member of any group is better at leading a performance on stage, balancing his time between the camera, fans, and his fellow members. He takes charge alongside actual leader S.Coups and creates an atmosphere where everyone thrives. It was their closer “Very Nice” that finally brought the house down. They had everyone jumping and even sprinted back on stage after it was over for one more round.
Day 2 seemed to take day 1’s level of balance as a challenge. The groups on this night said we’re going to do the complete opposite. That’s not to say it was uneven or messy, but that each group attempted to stand on their own, not letting a potential flow between them stop them from doing what they want. It was a night of individual brilliance. The unbearable cuteness of Jang Gyuri, the lithe, feline movements of Lee Daehwi, the sharp, truncated rhythms of Jeon Soyeon, and blatant sexual energy of Hwiyoung. These moments and people would all be remembered, shining above those around them. With headliners Seventeen, they are a group so attuned to this style of performance that it’s impossible to separate them. They are all brilliant as individuals but geniuses when brought together.
All photo credits to KCON USA
Were you at KCON NY 2019? What did you think of day 2? 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.
https://kultscene.com/wp-content/uploads/2019/07/MCD_KCONNY2D_104.jpg16002400Joe Palmerhttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngJoe Palmer2019-07-22 15:24:192019-09-04 21:01:11KCON NY 2019 ‘M! Countdown’ day 2 recap
Tackling the great expectations of moving to maybe the most famous concert venue in the world, Madison Square Garden, was a big ask ahead of the five groups preparing for day 1 of KCON NY 2019. Each of them were more than qualified to perform there on their own merits but the beauty of a concert like KCON is how they play off of each other. Either by the order of their sets or through collaborations, these pairings can offer up interesting new perspectives on their work. On this day, they strived for a delicate sense of balance.
Opening this night was down to the now veteran of KCON, Kevin Woo, was on hand to introduce the night of concerts at Madison Square Garden. The former U-Kiss member was his usual bubbly and soft self; he tends to be a perfect MC thanks to this quality. He feels more like a friend than some random professional, so it was a true pleasure to be able to see him make the move back to performing after MCing for so long. He performed his two solo tracks, “Over You” and “Ride Along.” They are fittingly bright and breezy for his voice and look, but he’s straying into lyrical territory that doesn’t fit. The player image of “Ride Along” didn’t feel genuine, and that’s something that can come across strongly on such a big platform.
One thing Kevin has that definitely does come across, whether he likes it or not, is that he is a potent reminder of how far K-pop has come. Around since 2009, Kevin has seen almost all of K-pop’s major flirtations with breaking into the west. This gave the night interesting bookends, with Kevin himself, a member of a group all but forgotten to the world, and headliners Nu’est, a group who through an unprecedented resurgence live on amidst K-pop’s most world renowned time. They feel like they’re from the same era and yet remain very much in the zeitgeist.
The starkness of what comes in between those two was immediately apparent when Ateez took to the stage. They along with other fresh faced boy group The Boyz opened the night with dance performances to contemporary American pop tracks. True to form, Ateez went hard on Skrillex’s remix of Travis Scott’s “Sicko Mode.” As would be seen later on in the night, Ateez have a very particular style of controlled chaos while on stage. They use typically strong boy group moves in very angular and aggressive ways. It’s a style of dance that goes so well with the surprising ways in which they are growing so rapidly. It is in the very literal sense, breathtaking but also almost obstructive of the group at the heart of these dances.
In a smart move to counter this, The Boyz took a much more unusual approach by performing to teen phenom Billie Eilish’s “Bad Guy.” Watching the 13 members walk like runway models to the cartoony synth run or move possessed along with Eilish’s distant vocals were moments totally singular over the whole weekend. Choosing to dance to these two melodies rather than the beat gives the performers themselves great personality. It’s an effective and simple way of making a dance feel like a story. Something they clearly learned from fellow large-membered group Seventeen.
As new as these two groups are they can’t compare to the absolute babies of the weekend, TXT. They were not to be held back, however, as coming along with a five track mini-album filled with gems meant they were more than qualified to be here. No one over the whole weekend would bring as exuberant a charm as they did. Decked in schoolboy uniforms, they jumped right into debut single “Crown.” The unabashed giant synths of it are probably the most infectious sounds of the year so far. It’s the kind of sound many might use to describe K-pop as a whole, so as an opener it was perfect. They took some time from there to talk and perform a short version of ballad “Your Summer.” It was energy well saved as they took a breathless last 10 minutes to blast through “Blue Orangeade” and “Cat and Dog.”
It’s hard to choose one thing that makes TXT so good but it’s just as hard to not say their choreography. It may be early days but it’s difficult to think of a group who handles such a small amount of members so well on stage since SHINee. The way they feed off each other is so important to the way they move, as if they need each other’s permission to go to the next part. They displayed a level of choreographic ingenuity that would not be topped until the weekend’s closers.
“Cat and Dog” will also go down as a great track of KCON 2019. As a song itself it expertly combines the cuter aspects of TXT with the more popular hip-hop sounds of most boy groups these days. It’s silly, brash, and best of all, earnest. This in turn makes it also an excellent bridging point from them into the next group Ateez.
As a further balancing act before that though, IZ*ONE came out with “Highlight.” “Highlight” is their most mature sounding song yet. Its stripped back R&B is helped by a pair of running synths and a trap beat, on top of which the girls eke out an elegant vocal. This gracefulness carries on in the dance as they hold up their hands and barely sway their hips, calling “look at me” in the chorus.
Not wanting to disrupt this flow too much, Ateez opened with the melancholic electro of “Aurora” and the decidedly dated tropical house of “Wave.” Ateez are burdened by the fact that every concept they’ve tackled so far has been a clear derivation of other groups. Particularly with these openers —you can’t give yourself a name when people are thinking of the groups who have done this before and better. Of course, even their next and final two tracks suffer from similar problems. This suffering only happens on track though, taken to the stage is a different story.
Closing with the heart-stopping duo of “Say My Name” and “Halla Halla,” Ateez made sure they wouldn’t be forgotten. The group left absolutely nothing on that stage; their sweat is now a permanent fixture of Madison Square Garden. It felt like they never had to stop, and could keep destroying the stage for the rest of the night. The chaos was still controlled but they were almost ready to let it go. It was a stunning display of control when they seemed to not want it at all. There’s aggression in K-pop dances, but nothing ever came close to feeling violent until rapper Mingi jumped over someone and seemed to headbutt the air. A funny but in some ways alarming moment.
The Boyz kept a serious air to the night but still calmed things down, as they began their set with “No Air.” Although a fitting follow up to what Ateez had brought, it felt lacklustre and even anonymous alongside them. This was put to bed immediately though, as the boyish charm and confidence of “Right Here” filled the place with glee. “Right Here” is one of those rare songs that starts off as if it’s already at top gear and yet at every turn still manages to find something small to lift it further. Making it not only a great song but an exceptional live experience. Also it was a smart move to put in the middle of their set, as closer “Bloom Bloom” is a lesser but still fun track that carried on the great energy of “Right Here.”
Needing to slow things a bit after that explosive one-two punch, Baekho and Minhyun of Nu’est came on for a cover of Adam Levine’s “Lost Stars.” Slowing things down was all this performance could really off as it’s not a good enough or well known enough song to otherwise justify inclusion. Certainly not with the potential vocal abilities of the two men singing it.
Nothing can really inject life into night quite like a Twice knock off, though. IZ*ONE were next up with just that on recent b-side “Airplane.” The cute vitality of the track and the girls more than made up for “Lost Stars,” as well as giving the night its tempo back. Unfortunately, they undid all of this right after as they played two games that took up at least 10 minutes. It would be ok if the games were fun but, it was clear that most of the audience were not paying attention after the first two or three minutes.
In fairness to IZ*ONE, they have the songs to once again reignite things. They ended with a brisk quartet of singles “Violeta,” “La Vie en Rose,” and Produce 48 tracks “Rumour” and “Pick Me.” Despite the cute image many might of them have, all of IZ*ONE’s tracks have major punch to them. This is emphasised really well live, as the bass in the choruses of “Violeta” and “La Vie en Rose” hit hard, but the melodies are never lost. No one carries this idea as well as Lee Chaeyeon. Their main dancer was one of the true highlights to watch over the whole weekend, earning her the nickname, the goddess of wind, with power and grace always together and never at odds.
There is no better group to headline this night and to unite all the ideas that have come up than Nu’est. Newly back to full strength as former Wanna One member Minhyun returned earlier in the year. Nu’est have been hard to pin down as a group thanks to changes like this, but they have consistently shown an unquestionable level of stability in sound and performance. They brilliantly mix the harder aspects of the dubstep and hip-hop that pervades their work with a slower sensuality in how they actually navigate these influences. Even up to their latest single “Bet Bet,” which they opened with, this continues. The battle between the ruthlessness of JR and Baekho, and the softer falsettos of Minhyun and Ren are on full show here. Aron sits in the middle somewhere, filling in gaps so as the others don’t quite lose themselves.
From there it was pure joy. “Love Paint” was the best song of the weekend, “Segno” so sweet and uplifting, and closing duo “Look” and “R.L.T.L (One Morning),” an exemplary rendition of the dubstep, dance music work they do. The only problem was that they were one song short. “R.L.T.L” was a good song to end on but only if we had known beforehand. As it was it felt like the perfect setup for “Overcome” to drive us home. But as soon as they finished, the lights went up and the other groups started to come out to say goodbye. There was definitely a slight feeling of being cheated. This was something their labelmates Seventeen would learn from though.
From Kevin Woo through Nu’est all the way to TXT, K-pop has been through too much to recount. KCON is always good at trying to tell this story of K-pop in a few hours and this night was no exception. The flow of every group’s set and the transitions between them felt natural and propulsive. Everyone had their place and performed it to the best of their abilities.
All photo credits to KCON USA
Were you at KCON NY 2019? What did you make of the performances? 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.
https://kultscene.com/wp-content/uploads/2019/07/MCD_KCONNY1D_078.jpg16002400Joe Palmerhttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngJoe Palmer2019-07-19 14:42:252019-09-04 21:28:52KCON NY 2019 ‘M! Countdown’ day 1 recap
For the first time ever, KCON New York took place in the actual city of New York. The 2019 edition of the biggest South Korean entertainment convention in the United States moved itself from Newark, New Jersey to the iconic locations of Javits Centre and Madison Square Garden on July 6th and 7th. It felt destined to be an equally grand weekend with more acts, more guests, and most importantly, more fans.
The hallowed halls of the Javits Centre, home to most of New York’s largest conventions, quickly filled up the first morning of KCON. They just as quickly felt like home to the many fans checking the best of Korean culture available to them. As always, the major highlights at the convention was the panels, a rare chance to get an in-real-life perspective on the many facets of K-pop and also time to speak to many of the best journalists and Youtubers that K-pop has to offer.
The weekend’s offerings opened with a panel exploring the potentially tricky area of “Stan Culture.” Moderated by PopCrush journalist Lai Frances, the panel of guests steered nicely clear of controversy without ever feeling too soft on stans. Each of them went through some of their own experiences with quality fandoms and toxic fandoms. The most interesting exchange came prompted from an audience member when they asked about how the writers themselves feel they can change the more negative sides of fans. Of course, none of the panelists had an exact answer or even a feeling if they did, but they demonstrated the necessity for cultural critics well.
The other great panel of the day was run by Emma from Reacttothek, and featured producers Andreas Oberg and David Amber and critic Jakob Dorof. Titled “What’s the Difference between American Pop and K-Pop?” the four of them attempted to describe how K-pop came to sound the way it does and how that compares to modern American pop. The panel was full of insights into how production works thanks to the two producers, but Emma as well was just as adept at explaining musical terms and elements. Jakob, who lives in Seoul, provided the Korean context. He talked about how the karaoke market is something important to pop in Korea, as well as the fact that the genre-bending type songs we hear now may have their roots all the way back in the 1940’s. One of the most interesting little tidbits though, was his revelation that SHINee’s “Everybody” had ninety different versions before being completed. Apparently they would have a finished song, go to choreograph it, and find that it needed a little something extra here and there before finally thinking it was good enough.
At the expo itself, there was a never ending stream of potential things to do. Many corporate brands had stalls doing games and giveaways, and there was lots of merch and K-beauty products to purchase, and even a glass box in the middle of the room where idols came out to play. Coco was there on this to host for Ateez. They played some Jenga and whoever made the blocks fall would have to dance to a random song. It’s a fun game to watch idols play, but being in the box meant it felt a little less intimate. At the Prudential Centre in previous years, the groups would come out to stalls but still be quite close by. It’s this kind of intimacy that an event like KCON should strive for.
There was also a noticeable lack of fan stalls in the expo. There had always been only a small amount, but given the extra space, there could have been more of an effort to bring in fan artists. Fans could get together in rooms near the panels as fan clubs, but again, that felt too distant from the expo as well as being too specifically catered to one group’s fans at a time.
Day two rolled around swiftly and the panel area began with a packed schedule. There were three separate events going all around at the same time. Two meet and greets, one with now KCON legend, and former U-KISS member, Kevin, the other with four of the team from Reacttothek, and one returning panel “Women in Hallyu Media.” Our very own Tamar Herman was moderating and led the esteemed panelists through a frank and vital discussion. The reality of the pressures even the most successful journalists and media women was totally laid bare. They touched on the issue of women in K-pop and the lack of tours and coverage they get in the west. It’s a never ending cycle of not getting enough news space because the groups aren’t big enough, but never being given that space to get the fame in the first place. Jenny Zha made a remark in relation to this that would feel relevant for the rest of the day: she basically said where the money goes determines all of this, touring and coverage.
Later on, there was another chance to get up close and personal with some idols in the M2 glass box. There was more Jenga playing, this time from (G)I-dle. This included a happily embarrassed Miyeon dancing to “Baby Shark.” Verivery and SF9 took the to the KCON stage, where they partook in showcasing their rookie talent and sitting down for an interview, respectively.
Again the panels were the easy highlight of the day with more exciting work like the “K-pop and Mental Health,” “Breaking News in K-pop,” and “2019: Year of Girl Groups.” The latter took on a very comfortable sort of half fan club, half panel vibe that played into the positivity of the topic itself. The expo lost even more of its charm by the second day though, as there’s only so many free slices of pizza and ice pops that can keep you distracted long enough to stick around when there are few offerings and interactive events.
As KCON takes a big step in the right direction in New York City, it frustratingly takes some more smaller steps in the opposite way. Zha’s comment from the “Women in Hallyu Media” panel sticks in the mind. Growing in size requires extra money, and extra money requires more sponsorships, which ultimately leads to less creative control over how the convention is run. The panels and concerts are slowly becoming the only reason to go to these events, and who knows how long they’ll last as well, though, as this year is more heavily focused on rookie and Mnet-oriented groups, the TV channel under KCON organizer CJ ENM than ever before. The true danger of this progression is if fans follow this corporatization. Of course, KCON isn’t the leader in how fans consume K-pop, but it can be a litmus test for a general look at what the Stateside portion of the fandom might be feeling at one point. Events like this need fans’ money, but long term, they need their support way more.
All photos credit to Jean Libert.
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What were your take on KCON 2019 NY? Share your thoughts in the comment section below. Be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2019/07/IMG_20190707_075058_KCON19NY.jpg10651679Joe Palmerhttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngJoe Palmer2019-07-18 17:04:332019-09-04 21:29:39Inside KCON NY 2019
On Episode 43 of KultScene’s K-pop Unmuted, Alexis Hodoyan, Tamar Herman, and Stephen Knight look back at Kpop releases from June 2019. We discuss Chungha’s “Snapping,” Sulli’s “Goblin,” Yesung’s “Pink Magic”, Monsta X’s “Who Do U Love,” NCT Dream’s “Don’t Need Your Love,” and Stray Kids’ “Side Effects.”
On Episode 42 of Kultscene’s K-pop Unmuted, Gabriel Wilder joins Joe Palmer and Stephen Knight to discuss Kpop dance. We talk about the importance of dance in Kpop, memorable dance moments, top performance groups, great individual dancers, and much more. Our Unmuted Picks for the episode are Jo Jung Min’s Ready Q, Weki Meki’s Picky Picky, and Lim Kim’s Sal-Ki.
Last year, Blackpink dominated the summer with hit single “Ddu-du Ddu-du.” The track pushed the quartet to global recognition with the trap beats, catchy chorus, and a message for haters to back off. Fast-forward to almost a year later, the group has solidified their place as a global powerhouse with a U.S. contract with Interscope Records, a world tour, and a ground-breaking spot performing at the Coachella Valley Music and Arts Festival.
“Ddu-du Ddu-du” might have broken the glass ceiling, but their latest release established them as global players. “Kill This Love” broke YouTube records and scored the ladies’ their first number one song on iTunes’ songs chart with its hypnotic beat and simple chorus. While the song follows in the footsteps of its predecessor, the EP contains boisterous drums, blood-pumping EDM, and mellow electric guitars that come together to create something that emphasizes Blackpink’s beginnings and their promising future.
The Songs
The EP kicks off with title-song “Kill This Love.” Roaring trumpets and horns begin the track as Jennie powers into the first versus followed by a youngest member Lisa’s captivating rap. The addictive beat is paired with Jennie’s beckoning rum-pa-pum-pum for an enticing delivery. Each member holds their own through heavy drums, but members Jisoo and Rosé shine with their unparalleled voices. The two alternate between visceral pre-choruses as the ladies sing of an unsuccessful love. Rosé takes the center with the bridge as the ladies head into a powerful anthem that ends the track. Marching band-like drums meet the groups signature EDM style as they chant, “We gotta kill this love/ Yeah, it’s sad but true/ We gotta kill this love before it kills you too.”
“Kill This Love” explores how we perceive ourselves in weakness while wishing to be stronger. Ending a toxic relationship of any kind is sensible, but the rush of emotions and attachment maintains a strong grip. Overall, the song gives us Blackpink as we know them but ends prematurely. Listeners are just getting into the groove of the ending break before it fizzles out.
The sub-title track “Don’t Know What to Do” is an EDM overload that listeners haven’t heard before. The song leaves out the trap beats, which are a signature for the group. The pulsating beat overpowers Blackpink vocals, but somehow creates a light atmosphere perfect for spring. The beat mirrors the impact of being lost while dealing with the fallout of an event. There’s a subtle desperation that echoes in Jennie and Rosé’s voices when they sing, “I don’t know what to do without you.”
“Kick It” oozes self-confidence with Blackpink taking control of their personas marching to their own beat. This is their moment. The track is an anthem embodying not knowing a good thing til it’s gone. They’re leaving on their own accord. “Kick It” also takes listeners back to their debut, with the trap beats and acoustic guitar reflecting the same composition found in “Whistle.” It’s a heavy bass track alternating between constant steadiness and unexpected guitar —an odd mixture that works for the group.
The EP takes a mellow turn with ballad “Hope Not.” The soft electric guitar creates a somber setting that’s authentic to the group. It’s a slow vibe that fans have missed since “Stay,” showing they don’t need the flash and gimmicks; it’s a stripped down version of them. Jennie starts the track with soft vocals that still remind listeners her position as vocalists. Lisa shows her continuous growth in her vocals taking on more verses. Her vocal placement after Jennie offers an ease after Jennie’s powerful voice. Jisoo’s finally found her footing and shines brightly in her pre-chorus and chorus moments. Rosé is in her element with this track —a girl and her guitar. She takes the lead as the main vocalist. She and Jisoo grasp the tenderness of the song with brief falsettos.
Finally, the group returns to their signature sound with a trap and EDM heavy remix of “Ddu-du Ddu-du.” The composition is an odd, risky pairing that displays YG’s hunger for mixing and matching of trends. It’s full of climaxes and beat drops that emulate the freedom found when reconciling with one’s feelings. It’s fun and continues the confident energy from “Kick It.” It reinforces the “take no bs energy” that catapulted the group global stardom. The track leaves room for choreography changes that are such to leave fans in awe.
Overall Thoughts
From start to finish, Blackpink tells the story of finding confidence after the end of a relationship. The EP resonates with listeners because we have been, will be, or are going through the emotions and story expressed. You can always find your way back to yourself and tell the story you wish to tell. Kill This Love was a standout moment for members Jisoo and Rosé. They’ve stepped into their own while maintaining an equal platform with Jennie and Lisa. The latter showcased their versatility as rappers and vocalists.
We haven’t seen many sides of them since their debut. Their delivery of rebellious concepts is impressive. They’re apathetic yet convey just enough emotion to the audience engaged. Blackpink has attitude. Comparisons to 2ne1 and Big Bang are common for the group as Blackpink’s title songs reflect similar tones. The group seems to be a slight hybrid of the two.
While their move into the global market happened quicker than their seniors, they’re not going in fully with a set identity. They’re trend-heavy and haven’t delivered outside their niche. Strip away the trends and aesthetics, what is left?
Their ability to appeal to America’s ‘90s nostalgia obsession is commendable. They give the boldness of TLC while delivering the harmonies of Xscape. However, the group’s move into the western market shows they’re not their colleagues and have the momentum to succeed.
Kill This Love is a glimpse of the group’s ability to cater to an expanding audience and potential as artists. They incorporated a sense of vulnerability that had yet to be seen by successfully told an all too familiar story from beginning to end. As Blackpink takes center stage at Coachella and the U.S. leg of their tour, they have an opportunity to show complexity of K-pop beyond the narrow perception the genre’s garnered. Blackpink has traded their guns for bazookas and is poised to take the U.S. by storm.
Blackpink's 'Kill This Love'
3.5
What was your favorite song on Kill This Love? Let us know your pick and thoughts on 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.
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On Episode 41 of KultScene’s K-pop Unmuted, Stephen Knight and Joe Palmer look back at K-pop releases from March 2019. We discuss EVERGLOW’s “Bon Bon Chocolat”, DALsooobin’s “Katchup”, Block B BASTARZ’s “Help Me”, TXT’s “Crown”, Yerin Baek’s “Merry and the Witch’s Flower”, and GWSN’s “Pinky Star (RUN)”.
Let us know what your favourite K-pop track of March 2019 is 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.
https://kultscene.com/wp-content/uploads/2019/04/Ep-41-logo.jpg500500KultScenehttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngKultScene2019-04-04 15:30:502019-04-17 13:37:59K-pop Unmuted: March 2019 roundup
Open a window and take in the fresh air. The sun is returning from hibernation, and what was once dead is beginning to grow again. The equinox may still be a week away, but we all yearn for spring as it approaches.
On her comeback track “Spring,” returning soloist Park Bom made the flowers bloom in our hearts early this year. A lot has changed since her last solo single “Don’t Cry.” At the time of its 2011 release, the singer was still a member of 2NE1, and the controversy over her use of the medication Adderall to treat Attention Deficit Disorder had yet to derail her career.
From the scandal’s outbreak in 2014, her ensuing years of silence were interrupted only by occasional sightings outside the YG Entertainment building, a 2015 performance at the Mnet Asian Music Awards, and an appearance on 2NE1’s 2017 disbandment single “Goodbye.” Even to the singer’s most dedicated fans, prospects for a comeback seemed bleak and distant at best.
Fast forward to March 2019. If the opening piano melody and muted riffs of “Spring” say anything, it is that Park Bom has beat the odds. Initially, the song’s airy gospel-influenced instrumental reminds of a lovestruck ballad like Davichi’s “Turtle,” but quickly turns more serious. On the opening verse, Park tells the tale of her suffering (“Pull me down / Into the endless darkness”). She wonders if she’ll “be forgotten this way,” likely referring to the peak of controversy and following years away from the spotlight. Enduring from her 2NE1 days, the uniqueness of her vocal tone shines in curved vowels and enunciated consonants.
Belting over the choir ad libs, she builds tension in the pre-chorus that resolves once the chorus arrives. “Spring for me again,” she declares in the hook, holding her notes in slinky vibrato. As the chorus progresses, the beat remains at a smooth medium-tempo, but Park grows louder, and her voice more emotive. Pained and hurt, she asks, “Will spring ever come to my heart again?” Spring is the happiness she so desperately wants, but still struggles to reach.
Enter the song’s feature: fellow 2NE1 groupmate Sandara Park. Note the use of her full name on the song, not her 2NE1-shortened moniker “DARA.” Her voice is soft as ever, but layered and emotive. Her rap lines employ rhythmic dynamism and trap influence—a welcome interruption to the track’s sonic equilibrium. She executes her feature with not only the gentle prowess of 2NE1’s DARA, but also the growth and maturity of Sandara Park.
“Spring” as a song is a dramatic experience, carrying the essence of a theatrical plot as it progresses. The arc reaches its climax after the second chorus, when the ad-lib choir turns fully gospel, and our protagonist sings of her coming triumphs: “When the pain you gave me leaves / Once the tears on my cheek dry up.” Her emotional resolve is tough and thick like the soul in her voice, singing with almost religious affliction on the final chorus’s high notes and belts. She is on her knees, begging someone or something for release from her sorrows. Just as the seasons change, hopefully so will her fate.
Named after Park herself (“봄” or “bom” translates to “spring” in English), “Spring” is uniquely personal to its singer. As only the third single of Park Bom’s decade-long career, it reveals a new side to the singer unseen in her previous releases. No longer is she singing upbeat love songs or choruses for 2NE1 tracks. The new Park Bom has matured, and is using her music as a vehicle for self-expressing and overcoming her hardships.
Above all, “Spring” tells the powerful story of a musician who has, through the tumults of public fallout and mental illness, made her dreams of singing onstage come true once again. Perhaps the long, dark winter is finally over, and spring will come once again. Park Bom is back.
Park Bom's "Spring"
5
What do you think of Park Bom’s return? 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.
