Ah Girl took 12 years to become a reality, but it’s a film director Ang Geck Geck Priscilla needed to make for her younger self.

After all, Ah Girl is inspired by her own childhood experiences growing up in Singapore in the 1990s.

Ah Girl is told from the perspective of a seven-year-old girl named Swee Swee (Ong Xuan Jing) as she navigates her parents’ separation. With her little sister Ah Tian (Sydney Wong), the two are shuttled back and forth between living with their needy, unpredictable mother and their temperamental father and grandmother.

“I always believe in telling stories from the deepest part of your heart because it is difficult,” Ang said in an interview ahead of the film’s screening at Toronto International Film Festival on September 16.

“When I was young, the adults would never take me seriously as a child. So, I always felt [this story should be told] from the perspective of the child. That is why I wanted to make this film and empower children.”

For Ang, the journey to making Ah Girl a reality took deep research and personal reflection. For writing inspiration, she says she sought the help of psychologists, but was later encouraged to see a counselor herself to help with her own deep rooted issues tied to her upbringing. After two years of speaking with a therapist, she realized the story she wanted to tell was for her younger self.

“I thought I was writing for my grandma, for my father, for my mother. At the end, it was me looking inwards and writing to the inner child,” she said.

“Through the process, I think I got healed and I grew together with the script.”

Below, Ang shares more about making Ah Girl, working with child actors and telling stories from Singapore.

(Conversation was condensed for length and clarity)

Congratulations on this film. I know writing this triggered old memories for you, but there is a lot of childlike joy and wonder within it too.

For example, simple pleasures like catching spiders during recess. Did this long journey bring about any nostalgia for you?

A lot of the scenes were based on my childhood story. It’s nice to watch scenes from my childhood memory come alive in the film again.

I would say it is 80 per cent based on my childhood memories, and the rest of the 20 percent was what I wanted to say to my parents. If they ever watched it in the cinema, I hope they would think… If they made certain choices, would things turn out differently?

Have your parents seen the film yet?

No, they haven’t seen it. But my father did express that he is very excited to watch it. They don’t really know what the story is about, to be honest. They read a bit from the local newspaper.

You know in a traditional [Asian] family, they don’t really talk about it. They never asked me, “Hey, what is your film about?” They just say, “Oh, when your film is out, please let me know.”

Singapore has gone through a lot of change since the 1990s. What were the challenges of filming in this location to ensure it looked authentic?

The Singapore landscape is always constantly changing really fast. Singapore is all about being productive, and it is always growing. It was actually very hard to find a location that is still in the ‘90s. And to be honest, I had to go to Malaysia, which is our neighbouring country, to look for similar locations. For example, the hospital and the school scenes were shot in Malaysia.

(Photo credit: Aggregate Films and TIFF)

Several films and TV shows that come from Singapore often portray this island as glitzy and ultra-wealthy. But here, we see a girl in a working class family. You portray another side. Was that important to you?

Honestly, I was only concerned about telling a good story and also the emotional truth about [Swee Swee]’s journey. But of course, this element affected how she grew up. That is why we see the other side because she comes from a not so fortunate or wealthy family. But then, this was not intentional, to be honest. It just happened that it was this character who grew up in these surroundings.

There are also three languages spoken in this film: English, Mandarin and Hokkien. How important is language to the authenticity of the story?

Dialects are kind of dying in Singapore because many years ago, the Singapore government kept encouraging us to speak either English or Mandarin for social reasons. There are many types of dialect within the Chinese, but [the government] didn’t want them to be divided.

So growing up with my grandma, you would see her communicating with the adults in dialect. But when speaking with the children, you see her speak in Mandarin because she is not educated and can’t speak English. And in school, the children all communicate in English.

It’s actually very important to show the culture of Singapore. We actually speak many languages. Especially in the ‘90s, there were more languages being communicated. But somehow, now it is actually dying. Maybe it’s the sentimental part of me. I wanted to have those languages exist in the film because I do miss hearing dialect sometimes.

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The two child actors in this film are also incredibly natural on screen. Can you tell me about finding those two girls?

Pre-production is actually where you spend the most time on a film before you start shooting. I spent one year casting and I shortlisted 13 young kids. They are all first time actors because I wanted a very raw performance.

Because you and I are both Asian, you have probably seen that a lot of Asians are often quiet in class. I don’t know if that was the case in Toronto where you grew up. But in an Asian country, most Asian kids don’t really answer when called upon by a teacher. I always kept this in my mind. And so, it was very important to have a safe environment and space for the kids to express freely.

So, I did a workshop with the 13 kids to learn about their personalities. And slowly, I eliminated until the final two kids. For about three months after, I spent time with the kids one-to-one without their parents through different excursions so they can trust me. We’d do an activity and put them in scenarios to help build a range of emotions for them related to the script.

(Photo credit: Aggregate Films and TIFF)

It sounds like there was a lot of patience getting the right kids.

But I do love working with kids! I have a lot of patience with kids, not with adults. [Laughs]

Everytime I feel the kids enjoying themselves and learning, and then telling their parents that they want to come back to the workshop, it really makes me feel very happy.

What made the two girls you chose perfect?

For Ah Tian, the moment she came into the audition room, I really fell in love with her! She has this X factor in her that I cannot explain. The moment she came into the room, I would just be laughing and smiling. So I knew I wanted her to be Ah Tian.

Because Ah Girl (used interchangeably with Swee Swee) carries more emotional weight as the main character, I had to go through with the workshop. It was finding someone to pair with Ah Tian, to be honest. For Ong Xuan Jing, I picked her because I was looking for someone that was close to the Ah Girl character. When I was doing the workshop, I was looking for someone to know their personality more and see how they deal with certain situations. Xuan Jing is just very mature for her age, and she is sensitive and sensible at the same time.

I hope they have more opportunities down the line.

I hope so too! I’m actually hoping that Xuan Jing will continue to love acting when she grows up because I am intending to make a trilogy of Ah Girl in her teens and also in her 40s. Hopefully that will be like Boyhood (film directed by Richard Linklater).

Have you always wanted to be a filmmaker?

I’m very excited to answer this question because no one asked me this before! No, I never saw myself as a filmmaker. To be honest, growing up I didn’t even know what I wanted to do. I always had an interest in the arts, but I was studying triple science in school. Because in Singapore, if you are in the arts, it means you don’t do well in school. Art is not very popular in Singapore.

It was in university when I finally got to do what I wanted. I actually chose to take film, even though a lot of my peers already had a diploma in film. I was [just] studying for a degree. I thought I would not be a filmmaker to be honest because it was quite difficult to balance my time in university to work and study. So I was like, “Okay, I will get a degree, make my grandparents happy because that is what they wanted.”

But somehow, my professor loved my work so much. Every time I pitched an idea, they would be like, whoa! They are always so impressed. I think because of my professor’s encouragement, I started writing more films. I realized film is such a powerful tool. I can actually help more people with that and find meaning in my life.

That when I told myself maybe this is my calling. I want to become a filmmaker. I never looked back.

What does it mean to present at TIFF?

I was really very happy when I got into Toronto because my film is not like a world or international premiere. My film has screened in many festivals before Toronto, and when they told me they selected my film, it says a lot. I’m very much looking forward to sharing my film with the Toronto audience.

What do you hope the audiences can take away from the film?

We can’t choose our parents. Our childhood might shape us for who we are, but it doesn’t define us. It’s really what we choose to let go and what to look forward to. At the end, I believe we can make our own choices.

For more updates, follow bunni pop on Instagram, TikTok and Threads.

The Toronto International Film Festival is starting later this week!

This is one of the biggest cultural events in Canada, and it’s safe to say many eyes in the entertainment world will be looking towards Toronto in the next two weeks.

As for me, I will be covering the festival for a fifth year in a row. Below, I have compiled a few Asian titles I am excited to check out at the festival.

For more up to date stories from the festival, be sure to follow @bunnipopletter on Instagram!

Bedford Park

(Photo credit: Mongrel Media/Sony Pictures Classics)

Son Sukku (My Liberation Notes) and Moon Choi (Now, We are Breaking Up) star as two second-generation Korean Americans in their 30s as their relationship goes from friendly to romantic. This debut feature from Stephanie Ahn explores the complexities of the diasporic Asian-American experience.

Happily Ever After

(Photo credit: Moebius Entertainment)

Director Feng-I Fiona Roan’s Happily Ever After revolves around two sisters who couldn’t feel more opposite. Kitty (i-dle’s Shuhua in her film debut) is about to get a promotion and is engaged to a wealthy man. While her sister Claire (Xuan Chen) is far from traditional. Their lives turn upside down when they come across an abandoned cat, and soon the pair grapple with family expectations, and discovering what happiness means to them.

The Assassin(s)

Based on the attempted assassination of South Korean President Park Chung-hee, The Assassin(s) directed by Hur Jin-ho is a procedural about police and journalists determined to uncover a seemingly complex conspiracy. The film features an A-list cast, starring Lee Min-ho (Boys Over Flowers, The Heirs), Yoo Hai-jin (A Taxi Driver) and Park Hae-il (Decision to Leave).

Always Lalisa

(Photo credit: Sony Music Vision)

Many will know Lisa as a member of the hit K-pop girl group Blackpink. But who is she outside of the superstar band? Always Lalisa, directed by Sue Kim, takes viewers inside Lisa’s journey as a solo artist. The film also gives an intimate look into Lisa’s childhood dreams for the stars and how she got to where she is today.

Ah Girl

Ah Girl is a coming-of-age film that follows a curious young girl as she navigates her parents’ separation. The film is inspired by director Ang Geck Geck Priscilla’s own childhood and is the filmmaker’s debut feature film. This film will take you back into what life was like back in the 1990s in Singapore, and is a heartwarming yet bittersweet reminder of what growing up feels like.

Possible Love

In Lee Chang-dong’s (Burning) highly anticipated film, Possible Love chronicles two couples playing games with themselves and one another. The film will bring about issues of class and generational divides, and stars an all-star cast that includes Jeon Do-yeon (Good News), Cho Yeo-jeong (Parasite) and Zo In-sung (Smugglers).

This film recently received a seven minute standing ovation at the Venice Film Festival, and is already receiving rave reviews. I can’t wait to see this one.

Whatcha Want

(Photo credit: Mongrel Media)

Canadian Mina Shum sure knows how to tell complex Asian-Canadian stories with humour and complexity! In her latest film, she tells the story of a young woman from Hong Kong whose marriage to an affluent businessman is beginning to resemble a gilded cage. The film stars Tzi Ma, Ming-Na Wen and Isabella Wei.

Look Back

Look Back is a coming of age film directed and written by Japanese auteur Hirokazu Kore-eda (Monster, Broker and Shoplifters). The film revolves around two students who bond over a shared love of creating manga, and is adapted by an acclaimed story by comic book writer Tatsuki Fujimoto.

Ha-Chan Shake Your Booty!

This film directed by Josef Kubota Wladyka (Tokyo Vice) revolves around a Tokyo ballroom dancer named Haru (Academy Award nominee Rinko Kikuchi) as she grieves the sudden death of her dance partner and husband Luis (Alejandro Edda). While depression sets in for Haru, her passion and sense of purpose is reignited after she comes across a new Spanish dance instructor (played by Alberto Guerra). This film won the the Directing Award - U.S. Dramatic at this year’s Sundance Film Festival earlier this year. Love a film that’s already got some early hype around it!

A Girl Unknown

Directed by Zou Jing, A Girl Unknown tells the story of a girl passed through different families and identities under China’s one-child policy. This coming of age drama follows one woman’s journey to self-determination and resilience.

We Are Born Good

In Leung Chuen Yeung’s debut feature, this Hong Kong-set film follows a struggling actress and ex-con restaurant owner who turn a petty dispute into an unlikely bond. Expect a lot of humour, heart and vulnerability through performances by Suet Ying Chung and Wai Lun Yeung.

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For more updates, follow bunni pop on Instagram, TikTok and Threads.

(Photo credit: Sunset Rollercoaster/Instagram & Photographer｜EGG 連思博)

When Sunset Rollercoaster won Best Band at the Golden Melody Awards in June, it marked years of the Taiwanese band’s longevity and bond together as a group.

“For us, being in a band is kind of like five straight guys raising a child together in a non-traditional family,” lead singer Kuo said during the band’s acceptance speech.

“Our baby is the music we create, and we carefully nurture it while hoping it grows up to be free.”

The trophy was Sunset Rollercoaster’s second time winning the category at the awards and is considered one of the most prestigious musical prizes in the Chinese-speaking world. The band last won in 2021, for their album Soft Storm.

“Staying together for this long takes more than friendship. It also requires a lot of patience, trust, and compromise. So when we received the award, it felt as though everything we had experienced together over the years was finally being seen,” Kuo tells bunni pop in an interview weeks after winning the award.

“Fortunately, the child seems to be growing up healthy and hasn’t turned into a bad kid—at least not yet,” he adds with a laugh.

Sunset Rollercoaster is an indie rock band that first debuted in 2009 as a project on the social media platform MySpace. But after, the band took a hiatus, and only reformed in 2015.

Known for blending city pop, jazz and soul, Sunset Rollercoaster has become one of Taiwan’s most beloved and critically acclaimed indie bands. However, their reach has also crossed borders. In 2024, Sunset Rollercoaster collaborated with the South Korean indie band HYUKOH on the highly ambitious album AAA, forming a ten-piece band. That same year, Kuo also worked with BTS’s RM on the single “Come back to me”, part of the rapper’s solo album Right Place, Wrong Person.

On September 9, Sunset Rollercoaster returns to Toronto for a concert at HISTORY. Below, singer Kuo discusses his band’s early origins, cross-cultural collaborations and the indie music scene in Taiwan.

(Conversation has been edited for length and clarity.)

For those who are just getting to know your music, how would you describe your style of music, and share a bit about your story!

We’re not really sure how to define our music. Over the years, people have described it as city pop, jazz, soul, or psychedelic rock. Those elements may all be there, but when we make music, we don’t usually start with a particular genre in mind. We care more about the groove, the atmosphere, and where a song can take you.

Our story began quite simply: a few people in Taipei got together because we wanted to have fun and play music. We went through a hiatus and later reformed. Then, thanks to the internet, we were very fortunate to have our music reach people in different cities around the world. We’ve been riding along ever since.

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Are you looking forward to returning to Canada and to perform for audiences here?

Very much. We still remember playing two shows in one day the last time we were in Toronto. Looking back, we have no idea how we managed it (laughs). We had so much stamina back then. Now we might need to lie down quietly after just one show.

We’re very excited to return to Canada with new music and share where we are now with both old friends and new ones. We can’t wait to see everyone again

Can you share the story of how Sunset Rollercoaster was formed?

Sunset Rollercoaster first started in 2009 as a two-piece band. At the time, we wanted to upload some songs to MySpace, so we needed to come up with a band name. I happened to see a Photo Booth effect on my computer featuring a sunset background and a rollercoaster, so I randomly put the two words together and came up with “Sunset Rollercoaster.”

There wasn’t any deep philosophy behind the name, and we never expected to use it for this long. The band later went on hiatus for a while before restarting in 2015. After reforming, our direction in terms of sound and songwriting gradually became clearer. We then released Jinji Kikko, which introduced our music to a much wider international audience.

(Photo credit: Sunset Rollercoaster/Instagram & Photographer｜EGG 連思博)

When people think of music coming out of Taiwan, they often think of the more mainstream mandopop singers like Jay Chou and Jolin Tsai. What would you say the scene was like for a band like yours when you first formed in 2009?

Taiwan already had a very vibrant independent music scene at the time, but it was smaller and mostly centred around a handful of live houses and music festivals. People mainly discovered new bands through live performances at venues such as Underworld, as well as online forums, blogs, and MySpace. It was very different from today, when streaming platforms, YouTube, and social media can help your music reach listeners around the world.

Mandarin pop still dominated the mainstream market, of course, but we didn’t feel much pressure to break into the mainstream. We simply made the music we wanted to make within our own circle and performed for anyone willing to come and listen. There were fewer resources than there are today, but that environment also gave us a great deal of freedom.

How has the indie scene in Taiwan grown since you came onto the scene?

The change has been enormous. Taiwan’s indie scene is no longer simply “alternative” or outside the mainstream—it has become part of the mainstream itself. There are now more music festivals, more professional venues, and audiences have become both more eclectic and more discerning.

More importantly, younger bands today have an international perspective from day one. Through streaming platforms, they can connect directly with listeners around the world. That was unimaginable when we were first starting out.

(Photo credit: Sunset Rollercoaster/Instagram & Photographer｜EGG 連思博)

I wanted to ask you about your latest album QUIT QUIETLY. What kind of story did you want to share with that album?

It’s less like a story with a clear beginning and ending, and more like a collection of fragments from our lives over the past few years. There are many reflections on touring, ageing, relationships, and how approaching 40 makes you reconsider what you want to hold on to and what you’re ready to let go of.

After completing AAA (released in 2024), we naturally wanted to return to a smaller and more intimate sound. AAA was a large-scale project with ten musicians and a tremendous amount of energy, so this time we wanted to leave more space and allow every sound to breathe.

It isn’t a particularly sad album. It’s more like knowing that certain things are slowly disappearing, but not feeling the need to grab them back or find an immediate answer.

You worked with RM on his solo album Right Place, Wrong Person on his lead single “Come back to me.” After that, you even covered the song, giving it a more hopeful tone with a bossa nova sound. Meanwhile, RM’s is more reflective and melancholic. Can you share more insights about your take on the song?

Honestly, after we worked with RM on the song, his team asked if we would consider covering it. How could we possibly say no? (laughs)

But seriously, the melody and structure of the song are very interesting in themselves, and the introspective melancholy of the original is very compelling. Once we decided to cover it, we tried to bring in Sunset Rollercoaster’s sense of warmth and a bossa nova rhythm, hoping to give the song a different feeling.

You have also collaborated with Seoul-based HYUKOH on an album called AAA. What was that experience like?

AAA felt like a very long journey for us. From making the album together to touring as a ten-piece ensemble, our two bands gradually became one big family. Even though we speak different languages, our musical instincts are very similar. The experience also helped us discover many more creative possibilities in one another.

Is cross-cultural collaboration between different acts from other countries something that you want to do more of?

To be honest, I don’t think my cross-cultural collaborations have ever really stopped (laughs). To me, music is a way of communicating with friends from different places. Over the past few years, I’ve somehow ended up playing and making music with artists from many different countries.

Recently, I’ve also been quietly collecting a few interesting new experiments. Hopefully, all of these songs will be released soon, and we’ll be able to share them with everyone then!

What can people expect on your upcoming tour?

The upcoming tour will centre around our new album, QUIT QUIETLY. But since it has been four years since our last North American tour, there will definitely be plenty of Sunset Rollercoaster classics as well.

Audiences can look forward to hearing new live interpretations of the latest songs while also singing along with us to familiar favourites. We’re very excited to see everyone at the shows.

When many people think of the Asian music scene right now, it is often K-pop and mandopop that comes to mind. Do you hope to play a role in inspiring more bands like yours in Taiwan?

It would be impossible to replicate Sunset Rollercoaster, and Taiwan doesn’t need more bands that sound like us. There are already so many distinctive musicians in Taiwan. What truly matters is that they have the opportunity to be heard in their own way.

K-pop and Mandarin pop both have mature industry systems, but Asian music shouldn’t have only one shape or sound. All we can do is make our music as well as possible and perform in more places. If our experience can help open the door a little wider and make the journey easier for those who come after us, that would be wonderful.

Follow Sunset Rollercoaster on Instagram! Tickets for Sunset Rollercoaster’s concert at Toronto’s HISTORY are on sale now.

For more updates, follow bunni pop on Instagram, TikTok and Threads.

(Photo credit: BIGHIT MUSIC)

I’ve had the joy of seeing BTS and some of the band’s members play in cities like Las Vegas, New York, Chicago and Amsterdam.

But nothing truly hits harder than seeing a group you’ve followed for years play in your home city. This past weekend, that dream was finally realized. It will easily be the highlight of my year.

To say anticipation for BTS’s arrival in Canada was high is an understatement. BTS was last in Canada in 2018 for the Love Yourself Tour in Hamilton. Though the band’s last real show in Toronto was 2015 for their Highlight Tour at the Phoenix Concert Theatre (a venue that only holds about 1,350).

How much has changed since those years! BTS (composed of members RM, Jin, Suga, j-hope, Jimin, V and Jungkook) is now the biggest boy band in the world. The ARIRANG World Tour is projected to gross more than $2 billion dollars (CDN) in total revenue.

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When BTS announced they would be heading on a world tour in January, it’s safe to say every month since then has been leading up to the Toronto concerts.

“BTS IS COMING TO TORONTO!” I remember typing in my group chat. And from there, the strategizing on how to buy tickets suddenly began. We bought BTS ARMY fan club memberships for presale. We signed up to buy tickets for multiple cities to better our chances at scoring tickets. We also relied on acquaintances for help.

(Photo credit: BIGHIT MUSIC)

In the week leading up to BTS’s concerts in Toronto, fan events at bubble tea cafes and K-pop stores were hosted in honour of the band. The Toronto Eaton Centre held a Comeback Fan Zone, giving people the opportunity to make crafts and take pictures at a photo activation. An official merch pop-up opened in Yorkville for people to shop official BTS Arirang merch. And at the Nike store, people lined up hours to take part in a limited time BTS merch collaboration.

(Photo credit: rkive/Instagram)

The excitement was further elevated when BTS members were spotted around Toronto. Members Jungkook, V and j-hope were seen at North York’s Empress Walk for a meal at Shinta Japanese BBQ. RM and Suga went to a hockey practice with the Toronto Maple Leafs. RM and j-hope also soaked in the sun on a private yacht on Lake Ontario. V shot a dance video outside of a small snack shop called Willy Wacky Exotic Snacks.

Members also ate well, having meals at Brown Tonkatsu, Pizzeria Badiali, Daldongnae Korean BBQ, Wonjoo Bunsik and a soon-to-be-opened restaurant called Hwaro Korean BBQ.

(Photo credit: thv/Instagram)

Still, as the concert dates approached, anxiety filled the air. Heavy rain and thunderstorms were in the forecast. Many hoped and prayed this would not be the case. At least two people I know even hired Etsy witches to cast the rain away. Desperate times call for desperate measures!

But alas, this brings me to Saturday. By 6pm, it started to pour. Then the thunder and lightning followed moments after. Everyone’s adorable concert outfits were soon covered by rain coats and ponchos.

People started to worry when Rogers Stadium staff started calling concert goers to get off the bleachers and onto the fan zone grounds for their safety. And while I started getting messages from friends worrying about the weather, I said I was staying put. The concert hadn’t been cancelled yet. Me and the thousands of fans still held onto hope.

Things thankfully took a shift by the time it reached 7:45 pm, just minutes before the show was scheduled to begin. The concert was announced safe to resume. Everyone around me cheered.

(My cute sailor outfit was replaced by a plastic poncho)

By the time the show officially started around 8:30 pm, BTS came out on stage clad in leather outfits, delivering high energy performances of “Hooligan”, “Aliens” and “Run BTS.”

It no longer mattered if our socks were soaking and our ponchos were uncomfortable. BTS was finally performing in Toronto!

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“The way you are looking right now, you might be the most FIRE crowd tonight,” V said, lifting spirits even higher.

“I’m ready and the rain’s ready. Are YOU ready Toronto?” Jin, the eldest member added.

At other points of the show, BTS leader RM commented on Toronto’s loud cheers and energy. “God damn! Why you guys so sexy?!”

Throughout the night, the rain let up for much of the concert, allowing the BTS members to dance on stage more comfortably. The 360 stage, which sat in the middle of the stadium, also featured four extended catwalks that gave fans great views from the floor to the nosebleeds.

Korean pride was also in full display. During a section of the show, cloaked figures in red, blue and white congregated on the stage to form a yinyang circle inspired by the South Korean flag.

And during a fan favourite portion of the concert, members of BTS paraded around the stadium to their hit “IDOL,” which is blended in with the sounds of a traditional folk instrument called the gayageum.

@bunnipopletterThe @BTS IDOL Parade is a memory for the books. #bts #kpop #bangtan #btsarmy #btstoronto

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The encore portion of the show was the moment to pay lots of Canadian fan service. RM came out in a customized Toronto Maple Leafs jersey. V sported a denim baseball cap with a Canadian flag. Meanwhile, Suga had Canadian themed patches sewn onto his T-shirt.

By that point, the rain started pouring once again, but somehow it only made the experience more magical. BTS members ran across the stage playfully kicking puddles of rain at each other. At other points, they performed choreography to older tracks like “Dope.”

By the the time the BTS members performed the final two tracks, “Please” and “Into the Sun”, the atmosphere became even more sentimental. Both songs highlight themes of love, loyalty and devotion—things the band hopes to share with their fans for years to come.

“We are gonna never ever forget this night,” RM said during his final speech during night one of BTS’s concerts in Toronto.

@bunnipopletter@BTS wearing Canadian themed clothes just hits differently 🇨🇦😮‍💨 #bts #bangtan #kpop #btstoronto #arirangtour

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There is nothing like hearing a band you’ve been waiting for years to say the name of your home city. It gives you a sense of feeling that you’re seen, you’re important. But most of all, it’s a reminder of being part of a community.

I attended both Toronto dates, and I felt like I was running into people I knew all around me. (And thankfully, the weather was absolutely gorgeous on Sunday!)

It was also meaningful to actually get to spend the shows with my cousins and a group of friends, many of them who were seeing BTS for the first time.

There really is nothing like screaming and singing along with each other as your favourite band plays in front of you. It was cathartic. It was fun. It was a reminder that life is worth living!

Over the past week, I’ve met fans from Mexico City, Los Angeles, Missouri, South America and beyond. Each said they were enjoying their travels, and it was fun giving people recommendations on what to do or eat.

Having travelled for a number of K-pop shows, I have always loved how a city changes when a big K-pop concert rolls around.

I am so proud of the way Toronto showed up for the BTS concerts and to finally play the host.

May we get to share more special memories together soon.

See me elsewhere!

The BTS concerts in Toronto also marked one of my busiest professional weeks. On Saturday, I braved the rain to chat with fans as they were heading into Rogers Stadium. One of my favourite segments included hearing from male ARMY about why they love BTS. What a wholesome bunch of people!

I also loved hearing from some of the older fans, who shared why music has no age limits.

For more updates, follow bunni pop on Instagram, TikTok and Threads.

(Photo credit: Rolling_Quartz/Instagram)

Rolling Quartz might not seem like your typical girl group.

While they don’t perform choreographed dances, the five-piece Korean act instead shed guitars and drums as they literally rock out on the stage.

“We’re building our own style of “K-Rock” by combining a powerful, heavy hard rock and heavy metal sound with songs that have a variety of moods and styles,” says Arem, the bassist for Rolling Quartz, in an interview with bunni pop.

“We want to create music that isn’t just accessible to rock fans, but that K-pop fans can also easily enjoy.”

While Rolling Quartz are far from the first female rock acts in the Korean music industry, their presence in it is still quite rare when K-pop still dominates the scene. The band counts itself among a handful of rock acts from Korea that feature women, including ChRocktikal, SE SO NEON and Touched.

K-pop groups like Dreamcatcher (which features ChRocktikal vocalist Lee Si Yeon) also incorporate a heavier rock sound into its concept.

“I think our music has a very different starting point from K-pop because we want to honour the roots of Korean rock that have been passed down through generations and continue that legacy,” says lead guitarist Iree.

Rolling Quartz, composed of Iree (guitar), Arem (bass), Jayoung (vocals), YeongEun (drums) and Hyunjung (guitar), debuted in December 2020. They were originally two separate bands going by the names “Rolling Girlz” and “Rose Quartz”. But since merging into a single group, the band became Rolling Quartz. Over the past six years, the quintet have built a solid following for their ‘90s, grungy sound and powerhouse performances. Their debut single “Blaze” garnered more than 3.3 million streams on Spotify.

Rolling Quartz have also been known for their covers, performing everything from BTS’s “Dynamite” to Måneskin’s “Zitti E Buoni.”

“Our unique colour as Rolling Quartz comes from combining the culture and sensibilities of K-pop with the raw, powerful sound of rock,” says Hyunjung.

Rolling Quartz recently played in Toronto as part of the band’s North American MY TURN Tour. I chatted with the group about their approach to making music, the lessons they’ve learned from each other, and the role fashion plays in their performances.

(Conversation edited for clarity and length)

Welcome back to Canada for the ‘MY TURN’ tour! What is the biggest highlight for you as you travel the world?

Iree: I think one of the best things is getting to meet fans from different parts of the world who I had only known through social media. It feels like meeting a friend again after knowing them for a long time. I also feel like meeting different people and traveling to different places has broadened my perspective on the world. I’m really grateful to have these opportunities.

Arem: The energy and the way fans react can be a little different from country to country, and getting to experience the unique energy and atmosphere of each place in person is one of the most exciting parts of touring.

YeongEun: I think the best part is getting to meet fans from all over the world that we’ve only been able to connect with online. It’s also such a great experience and I’m really happy that we get to visit different cities that I might never have had the chance to visit otherwise.

Hyunjung: I think the most amazing part is seeing people from different backgrounds, languages, and cultures come together through our music. Every moment we share the stage, connect with the audience, and exchange that energy with each other is really special and joyful to me!

Jayoung: Since our schedules are so busy, I don’t really get many opportunities to travel just for fun, so I think the people I meet while touring have an even bigger impact on me. It’s always so much fun meeting fans from different countries, and there’s also a great sense of pride in knowing, “We actually came here and performed.”

Toronto in particular is a city you have played numerous times. Any tricks up your sleeve for your performances this time around?

Iree: There will be solo performances from our two guitarists. We’ve prepared songs with a different vibe from last year. We’ll also be performing a cover we didn’t play during our most recent European tour, Queen’s “Bohemian Rhapsody.” Since it’s such a beloved song around the world, we hope you’ll enjoy the Rolling Quartz version!

Hyunjung: Since we’ve visited this city several times, we really focused on bringing Rolling Quartz’s signature high-energy atmosphere and live sound to the stage. We’ve prepared some of our signature songs, as well as songs that allow us to connect more closely with the audience, so we hope you’re looking forward to the show!

I also wanted to ask you about the crafting of your music, especially as you write and arrange much of your own music. What is that process like together?

YeongEun: When Jayoung brings in a draft, we work on the arrangement together as a group, and then our producer, who is also our CEO, puts the finishing touches on it. There are a lot of different opinions throughout the process, but I think we’re able to work through them well and bring everything together in the end.

Hyunjung: We usually start with a rough framework for a song, and then each member brings in their own ideas or riffs, which we develop and build upon to complete the song. I think our approach is a little different from other bands so we take our time and work through the process calmly together.

Jayoung: We don’t always agree on everything, but I think the process of finding common ground is important, so we try to be as considerate of each other as possible. Although sometimes I do push my ideas pretty strongly! (Laughs)

(Photo credit: Rolling_Quartz/Instagram)

What is one thing about each of your members that you admire?

Iree: YeongEun. I’m really impressed by how focused and hardworking she is. She always gives her best during rehearsals and never neglects her individual practice either. I really admire that about her.

Arem: For me, it’s Jayoung’s stamina and the energy she brings to the stage. Even when we’re exhausted from long overseas tours, she can be joking around right up until we go on stage, and then suddenly she becomes incredibly focused and gives it her all. I’m always amazed by that.

YeongEun: Jayoung, how confident she always is. Arem, how she never gets nervous on stage and does a great job showing everything she prepared. Hyunjung, how she takes note of things she can improve, like her playing, and immediately puts that into practice. And Iree, her bright smile on stage.

Hyunjung: Even beyond music, I think Jayoung’s passion and the way she throws herself into everything she does, wherever and whenever, is something I really admire and want to learn from. I also really respect YeongEun’s sense of responsibility!

Jayoung: YeongEun, her mental strength. For Hyunjung, her habit of giving thoughtful compliments. For Arem, her ability to just go with the flow. I am like that too, but sometimes I get caught up in little things! For Iree, she is similar to Arem. I guess it might just be an INTP (Introverted, Intuitive, Thinking, and Perceiving) thing! (laughs)

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Many who look towards the Korean music industry right now look to K-pop. How do you differentiate yourselves from that industry, especially when there aren’t that many Korean female-led rock bands out there?

Hyunjung: I think one of our biggest strengths is the raw, energetic feeling we deliver by playing our instruments live on stage. Our unique colour as Rolling Quartz comes from combining the culture and sensibilities of K-pop with the raw, powerful sound of rock.

Jayoung: Rather than focusing heavily on domestic TV appearances, we’ve continued to tour consistently in Europe, North America, and other parts of the world, gradually growing our fanbase. I think our unique identity comes from showing people that a Korean rock band can also connect with audiences around the world.

(Photo credit: Rolling_Quartz/Instagram)

How do you incorporate fashion as part of your performance? Is there an item or trick you can’t live without?

Iree: I have my stage outfits tailored to fit me. If I have enough time, I sometimes do the hand-sewing myself, but for more complicated alterations, I’ll have them done professionally.

Arem: Wrist supports are essential for me when I perform. Of course, I wear them when I practice too.

YeongEun: I think visual elements like performance, outfits, and makeup are all important parts of a show. I also consider my long purple hair part of my fashion, so I’ve kept it for a long time. It’s especially fun when I headbang!

Hyunjung: When I’m playing, my long hair often gets in the way or covers the guitar fretboard, so I usually tie it up high or use a claw clip to style it. Personally, I think suits and matching pants look really good on me, so I enjoy mixing that style with intense rock music for a bit of a contrast.

Jayoung: I think I have two completely different personalities when it comes to my everyday style versus what I wear on stage. (Laughs) I wear things on stage that I normally wouldn’t wear in everyday life! I don’t really have one particular item that I always wear.

What is your message to all the girls out there, who want to try playing instruments and being part of a band?

Iree: The most important thing for a rock band is having guts and confidence! Don’t be afraid or hesitate. If you think something is right after giving it some thought, don’t be afraid to go for it!

Arem: I hope you don’t let other people’s opinions or the label of being a “female band” put you in a box. Most importantly, I hope you just have fun and enjoy yourself as much as you can!

YeongEun: If there’s something you want to do, I hope you’ll go for it without hesitation. I think music can become a driving force in your life, and there’s so much you can gain through it. Most importantly, having fun is what matters most, so don’t put too much pressure on yourself and just give it a try! You’ve got this!

Hyunjung: Instead of worrying, “Will I be good at this?”, I’d tell you to just try plucking the strings of an instrument you like or are interested in, pick up a pair of drumsticks, and make some noise! I really hope you get to experience the joy of connecting with your bandmates and your audience on stage through the sounds you create yourself.

Is your goal to grow the presence of Korean rock bands, especially when it comes to women bands?

Iree: Absolutely. Recently, we’ve seen a noticeable increase in the number of female bands in Korea. I’ve even heard from people around me that they’re preparing to create new female bands. In the past, there was a strong perception that female bands weren’t commercially viable, so there were fewer than ten teams in Korea that were actively visible and performing at a notable level. I think the number has grown significantly, perhaps because Rolling Quartz has shown that it is possible. Beyond female bands, I also hope more people will recognize that there are so many amazing bands in Korea.

Arem: I believe that if we continue to achieve success on the global stage and help pave the way, it will create more stages and opportunities for younger female musicians and the many indie and rock bands in Korea. We want to show the world that Korea has powerful and incredible rock bands like us.

Hyunjung: I believe that if we continue to give our all to our music and performances, more stages and opportunities for Korean rock bands will naturally open up. I hope that our work and achievements can set a positive example and help pave the way for younger bands and female bands in the future.

Is there a defining moment in your career since your debut? And what would you like to achieve next?

Iree: The day we celebrated our fifth anniversary. We’re only months away from our sixth anniversary now, but reaching five years together was meaningful because it showed that we had continued moving forward for five years without any major setbacks, member changes, or long breaks. Our fans also sent us congratulatory messages and gifts, and being able to celebrate that milestone together was really special. I hope we can keep going and make it all the way to Rolling Quartz’s 10th anniversary!

Arem: I feel the most fulfilled whenever fans tell us that our music has brought them comfort or given them the courage to keep going in their lives. Moving forward, I want us to complete a world tour and visit even more cities around the world.

YeongEun: Overseas tours are what make me feel the proudest and most fulfilled. I really love visiting different cities and getting to meet our international fans in person. The touring schedule can be exhausting, but once we finish a tour safely and successfully, the sense of accomplishment is even greater. By the end of a tour, I feel like I can take on anything. I hope we can continue visiting even more cities we haven’t been to before.

Hyunjung: Every moment I get to perform and make music brings me so much joy and happiness, so it’s really difficult to choose just one specific moment. Moving forward, my biggest goal is to continue growing steadily, both individually and as a band, and to keep making music alongside the fans who support us for many years to come.

Jayoung: The moment I stepped onto the stage at Pentaport Rock Festival, which I had dreamed of performing at for 10 years. I was so happy! From here on, my goal is simply to live an even happier life than I have until now.

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(Photo credit: MNH Entertainment)

When 8TURN debuted in January 2023, they made an impression with their intense hip hop style and swagger.

Early songs like “TIC TAC” and “RU-PUM PUM” showcased the group’s rebellious, youthful vibe, with members often seen wearing casual ‘90s street fashion and delivering explosive performances.

But over the years 8TURN has also made sharp turns, opting for softer concepts like “Electric Heart”, released last August. The electro-pop tune is euphoric in tone, perfectly capturing the spark and passion that comes from enjoying your youth.

Now with the release of their latest single album 8.X, 8TURN is turning towards a more mature concept, paying homage to classic 1990s and 2000s pop stars with its latest track “Stagefright.”

Set to a pulsing beat that is reminiscent of Justin Timberlake’s “Rock Your Body,” a song like “Stagefright” gives 8TURN the opportunity to flaunt their dramatic performance and dance skills.

“Being a big fan of ‘90s and 2000s music, hearing the demo [for ‘Stagefright’] for the first time immediately captivated me,” 8TURN’s leader JAEYUN said in an interview with bunni pop.

But the excitement amongst him and his members also came with some trepidation over whether they could pull it off. But JAEYUN says taking on the challenge was necessary for the group’s growth.

“Since our debut, we have built our own identity around hip-hop,” he said.

“As we continued our journey, we began thinking about how we should grow as artists in order to become a group that can be loved for a long time. In that process, we realized that we had naturally matured. We are not only bright and energetic, but now we also carry more realistic emotions, such as anxiety and uncertainty.”

8TURN is an eight piece group composed of members JAEYUN, MINHO, SEUNGHEON, YUNGYU, KYUNGMIN, MYUNGHO, HAEMIN and YOONSUNG.

The name 8TURN is derived from the band’s eight members, while “TURN” signifies the group’s intent to lead a new generation of K-pop and embrace new sounds. The band says 8.X is just another chapter in their goal to show what they are capable of.

“The slogan for this album, ‘No Line, No Trace’, represents putting a full stop to the path we have taken so far and moving forward with a completely new side of ourselves,” SEUNGHEON said.

“In line with the meaning of the album, I think this marks the point where 8TURN’s transformation truly begins and becomes more noticeable.”

Part of 8TURN’s growth also comes from working behind-the-scenes, with members JAEYUN, MYUNGHO and YUNGYU all participating in composing music for 8.X.

“Stagefright'” serves as a metaphor for the intense thrill and vulnerability that comes from falling deeply in love, says JAEYUN. But it also describes what it means to live with the pressures of being in the spotlight as a performer.

He says writing the track was one of the most “vulnerable pieces” he’s ever worked on.

“Navigating that fear of being completely transparent, and weaving those two concepts together, was such a cool experience as a songwriter. Ultimately writing ‘Stagefright’ turned out to be a deeply therapeutic process.”

(Photo credit: MNH Entertainment)

For MYUNGHO, co-writing “Stagefright” helped him shape how he wanted to bring it to life on stage.

“I felt really proud because all the effort we had put into the song really came through. Also, as we started preparing the performance, I could find a clearer direction for how I wanted to express it,” he said.

8.X also features a groovy b-side track called “8PM”, which follows a similar Y2K R&B vibe to “Stagefright”, although it is more relaxed in tone. Slowing things down is intentional, says HAEMIN. He says the track is meant to capture what it feels like to chill during a summer evening.

“When you listen to the song, it will make you think of a beach under a deep orange sunset, with palm trees and an open road,” added YUNGYU.

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When 8TURN first debuted as a K-pop group in 2023, the industry had already started to rapidly grow across the west. These days, more and more bands are debuting in the industry, making it hard to compete for a fan’s attention and sell concert tickets and albums.

Members of 8TURN acknowledge the last three years have not been easy due to the competitive landscape of the K-pop industry. Among the challenges include competing on the reality show Road to Kingdom: Ace of Ace in 2024. The show pits K-pop boy groups against each other to prove their talents. 8TURN finished the competition in third place.

“We barely got any sleep, and we didn’t have much time to prepare,” MINHO recalled with a laugh.

But the tough times have also allowed the group to forge a brotherhood, one that allowed them to push each other to grow. Among the highlights, they say, include taking the stage at KCON in Saudi Arabia. While there, the band performed a cover of “Fighting!” by SEVENTEEN sub-unit BSS—a group 8TURN considers role models.

“I think those three years were a time when all eight of us relied on one another, encouraged each other, and stayed strong together. Honestly, I don’t think it was always an enjoyable journey,” HAEMIN said.

“There were some times when we had to face unexpected results and challenges, and we learned that the effort doesn’t always lead to the rewards we hope for. But I think those experiences have only made me love this career even more.”

Each of the members all grew up dreaming of a life on stage. JAEYUN, who was raised in New Zealand, credits his love of K-pop to his mom, who introduced music competition shows to him as a young boy.

That love for music shows led JAEYUN to audition and compete in survival shows like BOYS24 and MIXNINE between 2016 and 2017. After seven years of training as a K-pop trainee in total, he finally achieved his dream of debuting as a performer.

For MYUNGHO, his ambitions for being in K-pop came later at the age of 19. Now 24, he recalls playing catch up during his trainee years, cutting back on sleep just to rehearse his singing and dancing.

“There were several times when I worked hard toward [my] debut but faced failure along the way. Those experiences were painful and made me doubt myself, so I think they were especially difficult,” he said.

He says the moment he met 8TURN’s fans —known as TURNING—during the group’s debut showcase in January 2023, was a moment he will never forget. It made all the sleepless nights worth it.

(Photo credit: MNH Entertainment)

Following the release of 8.X, 8TURN says it is eager to meet its fans, hoping to show off their “attitude” on stage. In October, the group will head on a U.S. tour, hitting cities like New York, Los Angeles, Chicago, Houston and more.

“What I always find interesting is that every country has its own way of welcoming us, and the energy feels different everywhere,” HAEMIN said.

“Our fans always give us such wonderful memories.”

MYUNGHO says he also hopes to showcase 8TURN’s musical journey over the years, and to prove they are capable of so much more as artists.

“I see the discography from ‘Electric Heart’ to ‘Stagefright’ not as a change in our original identity, but as a natural musical evolution that reflects our growth and who we are today.”

Follow 8TURN on Instagram! Click here for more details on 8TURN’s upcoming TRACE Tour!

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(Photo credit: BIG HIT MUSIC/CORTIS on X)

When CORTIS announced it was heading on tour, the title of the event immediately caught my attention.

“Put Your Phone Down.”

The irony was not lost on me. Members of CORTIS—Martin, James, Juhoon, Seonghyeon and Keonho—are all part of the online generation, or Gen Z. And since the band’s debut a year ago, the group has capitalized on marketing itself through internet memes and hilarious TikToks—all while releasing self-produced catchy bangers that resonate with young people today.

So much of CORTIS’s brand and image is rooted in internet culture—from the members’ casual street style, bleached and textured hairstyles to DIY approach to making music.

In 2025, CORTIS broke out onto the scene with a bang, following in the footsteps of BIG HIT MUSIC’s other groups like BTS and Tomorrow X Together.

CORTIS’ debut EP Color Outside the Lines debuted at number 15 on the Billboard 200, marking the second highest entry for a K-pop act’s debut album. And less than six months after bursting onto the scene, CORTIS just about won every rookie award by the end of the year—taking home trophies at the MAMA Awards, Asia Artist Awards and the Golden Disc Awards.

There is a bit of a rebellious approach to CORTIS, who go against the polished image of the typical K-pop idol formula. Dubbing themselves as the “Young Creator Crew” the quintet consider themselves hands-on, self-producing artists who are involved in the creative process of their music from art direction, choreography, production to songwriting.

But despite being so chronically online, it’s refreshing to see CORTIS rejecting screen culture through the message of its tour. At a time when attending a concert has become so ingrained with posting reels, fancams and pictures on social media, the band’s message of “Put your phone down” is simple.

“Put your phone down is a mindset. Just be in the moment. Please stick with us,” Keonho said during CORTIS’s recent concert at the Great Canadian Casino Toronto.

(Photo credit: BIG HIT MUSIC)

Toronto was the first stop of CORTIS’s highly anticipated <Put Your Phone Down> North American tour, with tickets selling out within minutes of going on sale in June.

Still CORTIS’s first solo concert for the tour in July was initially met with mixed reviews. In Korea, attendees expressed disappointment over the non-traditional format of CORTIS’s concert. Unlike most K-pop shows that follow a formula of costume changes, VCRs and a varied setlist, CORTIS featured none of that. Most rookie groups—who have ten songs or less— often fill out a setlist with live covers, longer speeches and dance covers. But CORTIS decided to go against the grain. Instead, the band filled out its setlist by repeating songs like “REDRED” and “YOUNG CREATOR CREW” four to five times.

While I understood the disappointment from fans, it also didn’t surprise me that CORTIS would go in this direction. Many of the indie punk and hip hop shows I attended in my teen years followed a similar format of repeating songs during encores. Oftentimes, this was a way for artists to vibe and bring fans along with them. I also did not have a cellphone in 2008 as a 16-year-old, so I vividly remember a time when I could jump and dance around with my favourite groups like Billy Talent and Good Charlotte. This is why I understood the vision and message of “Put Your Phone Down.” CORTIS is paying homage to simpler times when we weren’t always glued to our screens.

(Photo credit: BIG HIT MUSIC/ CORTIS on X)

I also think this type of concert is akin to something many North American fans are used to seeing, while those who traditionally have only attended K-pop shows will have different expectations.

Still, in Toronto, the vibes from the audience was loud and hype from start to finish. CORTIS indeed did not use VCRs, play cover songs or change costumes throughout the set. Instead, it felt like an intimate gathering of 5000 fans, with members of the band going into the crowd multiple times to shake hands and dance with the audience.

Sure, there were still plenty with phones in their hands filming moments from the concert. How could they not? But it was also refreshing to see people waving their lightsticks in hands and jumping around. I sat in the grandstands, and even I felt the bleachers shaking!

As part of the tour, CORTIS also launched an app called PYPD, which ironically is downloaded on mobile devices. The goal of the app is to measure the movements of audience members during the concert. And by the night’s end, the average energy level per city is ranked against other stops throughout the tour.

“The reason we launched the app is to show how connected we are,” Martin said during the show.

By the night’s end, Toronto measured an average of 3,157 movement units per fan. A good workout indeed!

While many HYBE groups haven’t typically toured in Canada in the last five years, the show was also particularly meaningful for Martin, whose father is Canadian. The 18-year-old also lived in Ottawa for some time in his youth before moving to Korea as a child. Perhaps this is why he wanted to kick off the tour in a country that is very much part of his identity.

“My dad is Canadian!” Martin said, addressing the crowd. “He will be really proud watching this.”

Martin added his cousins were also in the audience that night.

“To be in this country and feel this energy from y’all…I’m really truly honoured. Thank y’all so much,” the singer added later on in the show, with a signed Canadian flag draped around his shoulders.

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What makes CORTIS so popular with people today is its relatability and casual demeanour. The members give off the energy of your younger brother or cousin. Their songs also document the ups and downs of teenage life, from calling out societal pressures (“REDRED”) to the struggles one faces in chasing their dreams (“Lullaby”). Even the simplicity of an açaí bowl has inspired the tune “ACAI”, which the members ate often during songwriting camps. The simple fruit snack serves as a metaphor of CORTIS’s work ethic. You don’t need to be flashy to deliver something great.

That exact lack of flashiness was showcased in CORTIS’s concert in Toronto, making way for raw connection between the band and audience members.

“In the beginning of the show, I said that I believe in you Toronto. I believe you can put your phone down,” James said towards the end of the concert.

“I’m so happy that I am able to see every single one of you. I’m able to look into each other’s eyes and have a human connection here.”

Given the energy CORTIS gave to Toronto, and how the city returned it, I can see exactly why this is the next band to watch.

This tour might feature the smallest venues CORTIS will ever play. This band is most definitely going places, and it’ll hit arenas and stadiums next.

For more updates, follow bunni pop on Instagram, TikTok and Threads.

(Photo credit: BIG HIT MUSIC and Netflix)

BTS isn’t here for consolation prizes. Now the band is hitting back in protest against The Recording Academy’s new “Asian Pop Performance” category.

Earlier today, each of the band’s seven members shared a statement on their respective Instagram accounts, announcing it will not be submitting its album ARIRANG for Grammy Awards consideration in the upcoming year.

“We have decided not to submit for Grammy consideration this year. We hope our music can be heard and loved for what it is, rather than being divided by region or language,” band members RM, Jin, Suga, J-Hope, Jimin, V and Jungkook all wrote. “We thank ARMY and everyone who has always stood by us.”

This is the strongest form of protest the band could make, especially after being praised for making inroads for the K-pop world at the Grammys, only to not win a single trophy after five nominations.

The announcement of the “Best Asian Pop Performance” category has been met with mixed reviews, especially amongst K-pop fans and those who listen to Asian pop music.

The award seeks to honour performances in Asian markets such as K-pop, J-pop and C-pop. According to the Recording Academy’s rulebook for the 2027 awards, eligible recordings must feature meaningful use of one or more Asian languages and that the language must be identifiable within songs that are bilingual or multilingual.

This new category has felt like a concession for artists including BTS, ROSÉ and the singers of KPop Demon Hunters—all who have been nominated in major Grammy awards categories over the years.

In 2021, BTS made history as the first Korean pop act to be nominated for a Grammy in the “Best Pop Duo/Group Performance” category. Though it took five more years for K-pop to receive a win when “Golden” from the KPDH soundtrack ended up taking home a trophy for “Best Song Written for Visual Media” earlier this year.

Much of the criticism for creating a separate “Asian Pop Performance” category has been around how it segregates and pits artists against others, especially if they do not perform primarily in the English language. Similar arguments have been made for the Latin Grammys and the African Music Performance category, which all recognize artists and songs that sound vastly different from each other.

Even Black artists have faced obstacles in getting recognized in big categories. After all, it took Beyoncé 21 years and five nominations to win Album of the Year in 2025!

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Don’t get me wrong, I DO see a point in having specific categories recognizing music from all over the world, however imperfect as it is. But considering that Asian artists have historically not been recognized by the Grammys, it remains to be seen whether Asian pop artists will get fair treatment. Right now, it feels like The Recording Academy is lumping all Asian acts into one category—treating the community as a monolith. Creating an award like this feels like, “Here, damn. Happy now?”

The other confusing thing that comes from having a category dedicated to “Asian Pop Performance” is that it seems to be heavily favoured towards East Asian music markets, failing to recognize the other distinctive sounds from other parts of Asia. That includes the vibrant South Asian music scene. Does South Asian music qualify too? It’s incredibly vague what “Asian Pop Performance” will consist of.

That’s why it’s particularly powerful to see BTS taking a stand and deciding to boycott the Grammys. The group has always pushed the message that its music transcends borders and language. Moreover, BTS has also been that rare K-pop group that has stood up against xenophobia and racism. In 2020, the band donated $1 million dollars towards the Black Lives Matter movement. And in 2022, the band made a visit to the White House to speak with U.S. President Joe Biden about anti-Asian hate and crimes. The band’s track “Aliens”—from this year’s album ARIRANG—also tackles the racism the members have faced in the music industry.

“Born different, seven aliens (Ayy, ayy), Green with jealousy, those civilians (Ayy, ayy). Won’t waste my breath to explain, to the stadium, gather up,” Suga raps.

It remains to be seen whether BTS will shut out the Grammys for good. In the past, the band has talked about how much it would mean to win a Grammy one day. However flawed, it’s still considered one of the highest honours a musician can receive. But this move on BTS’s part shows it’s only meaningful to win when done right.

Perhaps BTS’s rejection of the Grammys might push The Recording Academy to make changes to its new “Asian Pop Performance” category. I’m also curious to see if other Asian artists will follow suit.

Still, as BTS has proved time and time and again, it doesn’t necessarily need major awards for validation. Just look at its ongoing sold out ARIRANG world tour. This weekend, the band will play two sold out nights at Metlife Stadium in East Rutherford.

I’ll be there, and I can’t wait to see how they might address the Grammys.

Update: As of 8:12 pm, GRAMMY CEO Harvey Mason jr. shared this post on Instagram in response.

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(Photo credit: TITAN CONTENT)

“Lovefool” by The Cardigans is a ‘90s pop classic. Built on smooth electric guitar riffs, dreamy keyboard notes and a catchy chorus, the track is a song that captures the feelings of unrequited love.

Over the years, “Lovefool” has been interpolated numerous times by artists like Justin Bieber and the Red Hot Chilli Peppers.

Now in 2026, the K-pop group AtHeart are the next ones to reinvent the pop hit with the release of its latest single “Say It.”

“It was already a song I really loved and knew well,” ARIN said in a recent interview with bunni pop.

“It was such an honour that AtHeart got the chance to remake it,” NAHYUN added.

“We worked really hard to make sure we lived up to the original and didn’t fall short of people’s expectations.”

Given the classic nature of “Lovefool”, the members of AtHeart admit they did feel pressure to do the song justice. Luckily, it was also a song many of them practiced while they were trainees.

But through “Say It,” it was important for each of them to add a fresh take on the song.

“Looking back, I was so focused on matching The Cardigans’ original vocal tone and mood that, in the end, I wasn’t able to bring much of my own colour to the song,” MICHI said.

“I realized that honouring a classic doesn’t mean making it an exact replica. It means respecting what made it special while bringing something new to it. I think that’s what makes ‘Say It’ feel both nostalgic and fresh at the same time.”

AtHeart debuted nearly a year ago on August 13, 2025. But the group has been generating buzz even before releasing new music.

The band is composed of members MICHI, ARIN, KATELYN, BOME, SEOHYEON, AURORA and NAHYUN, and is the brainchild of former SM Entertainment industry executives including Nikki Semin Han and Katie Kang. Han served as SM CEO between 2017 and 2019. Kang is a Korean entertainment veteran known for casting and developing acts like Girls Generation, SHINee, f(x) and more.

In 2023, they co-founded the entertainment agency TITAN CONTENT, a multinational music company with studios based in Seoul and Los Angeles. The goal is to break K-pop artists into the U.S. music market.

AtHeart is reflective of TITAN’s mandate, with members hailing from South Korea (NAHYUN, ARIN, BOME, SEOHYUN), the United States (MICHI is from Hawaii), Japan (AURORA) and the Philippines (KATELYN).

“Since all seven of us come from different countries and different parts of the world, I was a little worried at first about whether we could truly come together as a group,” AURORA said.

“But something I learned while training and spending time together is that no matter how different our backgrounds are, if we all share the same goal and passion, we can come together.”

(Photo credit: TITAN CONTENT)

For MICHI, the multinational nature of the group also felt like “pieces of a puzzle coming together.” With her members, she recalls their early days bonding together over food, hobbies and other shared interests.

“Talent-wise, we each bring our own strengths and charms to the table, so we complement one another and make up for what might be missing. I think that’s one of our biggest strengths,” she said.

Each of the members have also dreamed of performing on the stage since they were very young.

For SEOHYEON, she recalls watching Korean music competition shows when she was just five years old.

“I was really inspired by TWICE, who appeared on them so often at the time,” she said.

“Watching them sing and dance on stage while shining so confidently left a huge impression on me.”

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Meanwhile, AURORA says she was also five when she fell in love with the second generation K-pop group KARA.

“K-pop was always by my side through my ups and downs. My room, my school locker, everything was filled with the K-pop artists I loved,” she recalled.

Growing up as a child actor, AURORA always thought she’d act for life. But the tides changed when she was 12-years-old.

“It was time to start a new chapter in my life, and since I loved dancing, singing, rapping, and of course K-pop, I started seriously thinking about becoming a K-pop idol. I don’t think there was one particular event that made me pursue this dream. It just came naturally to me.”

While AtHeart is backed by a small start-up company like TITAN, its strengths also lie in the girls’ authenticity and relatability. Much of AtHeart’s songs revolve around themes of teenage life—from first crushes, friendships to finding confidence.

AtHeart’s debut single “Plot Twist”, a dreamy synth-pop track, captures the confusion that comes when you’re crushing on someone you didn’t expect. The single found success online, with its music video garnering more than 16 million views.

Though nearly a year since debuting on the K-pop scene, the members of AtHeart note how experimenting with different genres and sounds have allowed them to feel more confident in themselves as artists. It’s evident in the band’s song “Butterfly Doors”, released this past March. The track takes on a more melodic and darker intensity than the brighter, more energetic pop heard in AtHeart’s debut single.

“I’m really excited to show everyone this confident side of us, and I hope that seeing it will inspire them too,” says KATELYN.

Unlike most K-pop groups who are based in Seoul, AtHeart works out of Los Angeles, giving the group more opportunities to perform and promote in the U.S. On July 30, the group is slated to perform at the iHeartKPOP with JoJo LIVE Series in LA.

MICHI says living and training in North America also influences the band’s artistry.

“We’re also encouraged to explore different styles of music, which is one of the reasons we’ve never felt limited to just one sound. I think that openness has become part of AtHeart’s identity.”

While AtHeart is still young in its career, it has also found a mentor in Girls Generation’s Sooyoung—who makes a cameo in the teaser for AtHeart’s debut track “Plot Twist.”

“I grew up watching [GIRLS GENERATION] on social media and learning from them. Among all the members, Sooyoung has always been my favorite, so I couldn’t believe she was standing right in front of me. I was so happy that I actually cried,” NAHYUN said.

“The advice she gave us was to always do our best and enjoy what we do.”

As AtHeart approaches its first debut anniversary in August, the members say they hope to be remembered by fans for its originality and positive energy.

The girls also have big dreams, which include performing at Coachella, headlining at Tokyo Dome and writing their own songs.

“I hope AtHeart will be known as a group that isn’t limited to just one thing, but is always willing to take on new challenges and excel in everything we do,” ARIN said.

Follow AtHeart on Instagram and YouTube!

Get in touch by emailing bunnipopnewsletter@gmail.com. Or, follow me on Instagram, TikTok and Threads.

(Photo credit: H&P Entertainment)

Taking the stage on his own is something JUNHEE admits he’s still getting used to.

As the leader of the K-pop group A.C.E., the singer has grown accustomed to performing with his bandmates over the last decade. But since the 32-year-old embarked on a journey as a solo artist in 2025, he now faces the challenge of calling all the shots on his own as a self-described “perfectionist.”

“Before, I could just move forward if the members said something was good enough,” he tells bunni pop in an interview following a recent concert in Toronto.

“Now that I'm on my own, I have to check and go over everything myself. There are a lot of moments when I honestly don't know what the right answer is, and I end up overthinking so much that I am paralyzed.”

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Still, JUNHEE is enjoying the ride, thanks to his fans who allow him to alleviate the pressure he feels to take the stage on his own.

“When the fans enjoy the show with so much passion, I forget all about it and just perform. That's always amazing to me and I'm so grateful.”

JUNHEE was last in Canada seven years ago while on tour with A.C.E, but 2026 marked his very first as a solo artist. The singer’s Into The Ocean tour saw him visit Vancouver, Halifax and Toronto in early July as part of the Canadian leg of his tour.

Below, JUNHEE chats about trying Canadian cuisine, exploring different genres of music and teased his upcoming album [LOVE METHOD], which comes out on August 7th!

Conversation has been edited and condensed for length and clarity.

(Photo credit: Pan Entertainment)

Welcome to Canada! Is there anything you did during this tour in your downtime that you enjoyed?

Honestly, on the days with no shows I was always traveling to a different city, so all I remember is sleeping on the flight and in the car (laughs). So I think it was probably Vancouver, but after the show we went to a restaurant to eat, and the GPS system happened to take us to a different location. It turned out to be a pretty famous spot. There was a steam clock [Gastown Steam Clock]. Anyway, all the lights around the town were so beautiful, and I remember having a lot of fun filming a cover song video there with the staff.

You have been trying different Canadian dishes in your stops in Toronto, Vancouver and Halifax. In Toronto, you tried a peameal bacon sandwich. What do you think of the unique cuisine Canada has to offer?

It was amazing. There was so much more good food in Canada than I thought! I especially remember a dessert I had during my show in Vancouver, called Ninaimo?Nanaimo?! I hadn’t had something so sweet recently! (laughs)

(editor’s note: the Nanaimo bar is a bar named after the British Columbia city. It consists of a chocolate ganache on top, along with a base made of wafer, nut and coconut crumbs.)

Now that you are taking the stage on your own, what have you learned about yourself as an artist?

I’ve definitely realized that I’m a huge perfectionist. I was always a bit like that, but before, I could just move forward if the members said something was good enough. Now that I’m on my own, I have to check and go over everything myself. There are a lot of moments when I honestly don’t know what the right answer is, and I end up overthinking so much that I am paralyzed. Of course, logically I know there’s no such thing as the perfect choice, but I’m only human, and when I’m actually in that situation, I often realize I can’t control my thoughts as well as I’d like.

What has been the biggest challenge for you in preparation for touring on your own?

I think having to fill the stage truly “by myself” feels like a lot of pressure every time. But when the fans enjoy the show with so much passion, I forget all about it and just perform. That’s always amazing to me and I’m so grateful. This tour was especially meaningful because it made me feel the absence of the A.C.E members, what my own shortcomings are, and what I need to work on and prepare more for in the future.

(Photo credit: H&P Entertainment)

What are the biggest lessons you have learned in this journey, now that you are also the CEO of your own company, H&P Entertainment?

I realized that if there’s anything I want to do or try, I have to just do it somehow as soon as possible. I’m sure that the moment I do that, my life will change once again. I’ve realized that there’s no end to learning, and there’s no end to experience. That’s why I feel that life can be short for some people, and long for others.

You saw great success in cities like Cologne, Berlin and Paris during earlier stops of your tour. What have you enjoyed about meeting fans in different cities?

Just the fact that I am receiving so much love from all those places itself, of course!

I know very well that not everyone gets to experience life like this. I’m grateful every day to the fans who support me and make it possible for me to live this kind of life. My solo journey began with them, and it’s still continuing to the present. That is truly amazing. That’s why I want to share my love with them, too.

During this tour, you have pulled out songs from your past and present. But you’ve also done covers, from Bazzi, Justin Bieber to keshi. Can you tell me a bit about challenging yourself to cover songs by artists you admire?

It definitely made me realize I need to keep practicing more and working even harder. One of the reasons I do cover songs is of course out of admiration for those artists, but also it helps me recognize and learn a lot of information, such as which sounds I can’t recreate very well or even at all. In that sense, I think it’s one of the essential things a singer should do. And I also hope that one day, just like the artists I admire, I can become that kind of artist for someone else!

You have mentioned artists like DPR Ian as an influence to you. What kind of creative ambitions do you have for yourself down the line?

I just want to make music that honestly and vividly expresses the images, visuals, and sounds I have in my head. I think that’s the best way to express my own colour.

And ultimately, I hope to become a musician who sings about love and peace and shares those messages, like Michael Jackson.

You released your first mini album last September, where you played with different genres like disco, pop-rock and funk. What can we expect from you next in your new album [LOVE METHOD]?

I poured my thoughts and emotions even more intensely into [LOVE METHOD] than my first album. What I wanted to express through this album was: What has love meant to me throughout my life? I looked back on myself and turned the feelings and thoughts I had at those moments into songs.

You sang a song called “Lemonade”, which is reminiscent of EDM and electropop. Can you tell me a bit about exploring this style of sound in this single?

I just wanted to keep trying new kinds of music. I also thought it would be a good song to release in the summer! More than anything, I wanted to keep pushing myself to create a more upgraded sound than last year.

What kind of music have you been listening to while writing this album?

I listened to a lot of EDM, like pop-based EDM, deep and progressive house music, rock, etc.

How have you pushed yourself to try new things musically?

Working with a variety of producers and musicians. Every song has a different feel, and the emotions, sounds, and everything about them have their own unique charm. Every time I worked on a song with a new producer, I would say, “I want to make an album about love. Let’s talk about the different emotions and situations that come with love.” I think that’s how we always started our first conversation before working on the music.

What do you hope listeners will get out of the new album?

Simply put, it contains emotions that everyone has probably experienced at least once in their life. After all, people’s lives aren’t all that different. We cry, we laugh, we fail, we get back up, we understand, and we encourage one another. I hope my idea of love can be shared with everyone through this album.

Message for the Canadian fans?

Hello, Canadian fans!!!! I was so, so happy to see you all this time. I’ll come back to see you again with a new album before too long! Until then, stay healthy, and please keep showing lots of love for my music!! I love you!!

Follow JUNHEE on Instagram and YouTube! His album [LOVE METHOD] comes out on August 7th!

Get in touch by emailing bunnipopnewsletter@gmail.com. Or, follow me on Instagram, TikTok and Threads.

(Photo credit: jakeyjbae/Instagram)

When THE BOYZ debuted in 2017, the K-pop group quickly found a fanbase through its cinematic storylines and acrobatic dance moves.

Just take a look at the group’s performance during the competition series Road to Kingdom, which saw THE BOYZ portraying ninjas as they wield swords, perform high jumps and impress the audience with their synchronicity.

It was through THE BOYZ’s creative performances that helped crown the group as the champions on the program in a talented field of seven male K-pop bands.

While Road to Kingdom showcased THE BOYZ’s versatility, every artist still needs time to evolve and switch things up. Now nearly a decade since THE BOYZ’s debut, JACOB BAE has become the first member of his group to release a solo project.

JACOB’s mini-album j. was released on June 10, 2026.

“I’d say j. is an album that describes my music and the beginning of my new musical journey,” JACOB said in an interview with bunni pop.

“I do hope people that listen can find comfort and have it relate to them in some way!”

The album was entirely co-written, produced and self-released by the 29-year-old Toronto-born singer. Unlike THE BOYZ’s high energy dance tracks, JACOB’s music is slower in tone and pace, and offers a more comforting atmosphere—giving the vibe of a summer road trip or a day spent at the beach.

JACOB says he is inspired by artists like bazzi and keshi—both singers who have become known for their storytelling and love songs.

Lead single “Slow Dancing” is a relaxed ballad that shares the message of capturing every moment spent with someone you care about—whether it’s a first date, a crush or a friend.

“People tend to always rush things or be in a hurry, but I wanted to portray that it’s okay to take your time and get to know each other better,” JACOB says of the track.

In j. Thai singer Wonderframe also makes an appearance, co-composing and singing in the romantic ballad “Promise” with JACOB.

But perhaps one of JACOB’s most meaningful collaborations is with his THE BOYZ bandmate SUNWOO, who worked with him on a track called “Back and Forth.” The acoustic song gives glimpses of Ed Sheeran and Jack Johnson.

JACOB says their brotherhood and bond made for a comfortable working environment, which allowed him to trust SUNWOO from the start to put together a great track.

“We never had to meet up and just talked it over through the phone, and voila!”

(Photo credit: jakeyjbae/Instagram)

Growing up in Toronto, JACOB says music has always been a part of the foundation of his life. He was a lover of pop music, which he found he enjoyed singing along to. Though it was in high school where he started making music of his own. He recalls taking a guitar class in his teens, where his instructor encouraged him to write songs.

That hobby ended up sticking. In between performances and tours, JACOB would compose songs on his own. Many of the tracks that make up j. were written over the years.

Seeing his passion for music, his friends and family encouraged him to try out for K-pop auditions. While he was initially unsure about the possibility of uprooting his life from Canada, he tried out to gain performance experience.

Little did he know, auditioning would change his life. He passed an audition and became a K-pop trainee. In 2017, he debuted in THE BOYZ.

THE BOYZ is also a rare K-pop group that features two Canadian members. KEVIN, who hails from Vancouver, is often seen teasing JACOB in livestreams. In one fan favourite moment, KEVIN teases JACOB for consuming milk from plastic bags as opposed to plastic jugs. (Bagged milk is primarily found in Canadian provinces like Ontario, Quebec, New Brunswick, Nova Scotia and Prince Edward Island.)

“This is why Americans think we’re weird! But why?!” Kevin asked during a livestream.

“It’s actually much more comfortable,” Jacob responded. “It’s always a hassle carrying it in the grocery store.”

These days, JACOB is unsurprised by the amount of Canadians and North Americans present in the K-pop industry.

“K-pop has become so global that I did expect many more to start debuting and it has been amazing to see during my time!” he says.

As THE BOYZ approaches nearly a decade together, the band has gone through both highs and lows—from winning Road to Kingdom in 2020 to contract disputes.

Earlier this year in March, members of THE BOYZ notified their agency One Hundred of the termination of their exclusive contracts, citing unpaid settlement payments and failing to properly support essential experiences related to the band’s entertainment activities. In April, a court ruled in favour of nine members of THE BOYZ in their bid to suspend their exclusive contracts with One Hundred.

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Though in spite of ongoing challenges, THE BOYZ have continued to carry on with activities for its fans, also known as The B.

“I feel like with everything we have experienced, there isn’t anything that can bring us down,” JACOB says of his bond with his bandmates. “We’ve become really strong and immune to many things.”

With brotherhood also comes unwavering support. And JACOB says his bandmates have been “very supportive” of his new project j. and how quickly he was able to put the album together.

Down the line JACOB hopes to continue sharing his passion with fans around the world. He adds that he would love to return back to his home city of Toronto one day, whether as a soloist or with his THE BOYZ members.

“It is of course where I grew up, so it always has a special place in my heart,” he says.

“I would love to be able to take this album and perform for fans all over the world. It is one of my goals for the upcoming years.”

Follow JACOB on Instagram and YouTube!

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(Photo credit: Sofia Kay)

Growing up in Toronto, Sofia Kay recalls some of her favourite memories bonding with her friends over their shared love of K-pop.

At school, they’d form a K-pop dance club and learn all their favourite choreographies. In her bedroom, Kay would cover her walls full of posters of her favourite idols. But most of all, she’d dream of one day going to Seoul—the global mecca of K-pop.

Those experiences led Kay to pen her debut song titled “Seoul” while she was in Grade 8. In it, she describes her dreams of traveling to the South Korean capital with her friends. Though its accompanying music video feels like any quintessential Toronto teenage experience. In it, Kay is seen roaming around the grocery aisles of Koreatown staple P.A.T. Central with her friends, thrifting in Kensington Market and dancing around Sankofa Square.

While that song is deeply rooted in Kay’s Toronto upbringing, it also helped bring her to bigger heights. A few years later, a teenage Kay would find herself travelling to Seoul and Los Angeles to participate in songwriting camps that would lead to credits for some of the biggest K-pop stars. Among them include aespa, TOMORROW X TOGETHER, TWICE, P1Harmony and LE SSERAFIM.

“I really do feel like somehow I manifested it!” Kay, now 20, says in an interview with bunni pop. “It was music that brought me to Seoul for the first time.”

Kay, who is of Korean and Italian descent, grew up in a musical family and always knew she’d end up in music. She sang, played piano and the guitar. And around six or seven years old, she started writing songs.

At 12, one of Kay’s songs helped her get noticed by music publisher Brill Building Modern Copyrights after she submitted the track to an online songwriting contest. A couple of years later at 14-years-old, Kay was getting opportunities to attend songwriting camps. It was that same year she landed her first credit: “Way Home” by TOMORROW X TOGETHER.

“That was surreal because I was a fan of K-pop before I even started writing for K-pop artists,” Kay says. “Getting my first cut in the K-pop world was just insanity to me.”

As a teen, Kay would attend virtual songwriting sessions over Zoom during the COVID-19 lockdown, all while attending high school in Toronto. While she realized early on that her life was unlike any of her peers, Kay also stresses the importance of having a normal teenage social life.

It was only at 16 that Kay flew to Los Angeles for a songwriting trip. And from there, the hits kept flowing. At 17, she wrote “Sugar Rush Ride”, the lead single from TOMORROW X TOGETHER’s Billboard #1 EP The Name Chapter: Temptation.

“I love how the song turned out, it was everything and more,” Kay says, still with a sense of disbelief in her voice.

“I feel really proud and just really grateful to be a part of it. It truly is a gem.”

I ask Kay if she ever feels her age plays a factor in the rooms she enters during songwriting sessions.

“I was always the youngest in the room. I still think I’m the youngest in the room,” she says.

“Surprisingly, it never affected the songwriting ever. When I was 16 in my first few sessions in LA, I was always an equal in a room of equals. I wasn’t a 16-year-old girl anymore. I was a songwriter and I was there to work and write the best song possible.”

Still, it took a few more years for Kay to end up going to Seoul. That dream was finally realized when she turned 19, when she took a trip across the ocean for another set of songwriting sessions.

Kay describes the trip as a “full circle” moment both professionally and personally. While she had long dreamed of making music in Seoul, it was in that city that she also got to connect with her Korean roots.

One moment she remembers is when her aunt took her to the iconic Gyeongbokgung Palace to try on hanboks and take pictures.

“I think it really healed a little part of me in some ways because I just never had been there and I think I connected to my Korean heritage.”

Beyond songwriting, Kay is also focused on her own artist project. In 2025, she released her EP i’ve been secretly dreaming.

Kay describes the EP as a diary of coming of age during her teenage years. “Forget me nots” is a pop-rock track that channels the angst and cynicism of being single. While “Wild Cherry” captures the fluttery feelings that come with having a crush. It’s a track Kay wrote back when she was 12 and performed at a Grade 7 talent show. “A blast from the past,” she recalls.

In May, Kay performed songs off the EP during a showcase at the Departure Festival in Toronto, where she also participated in a panel featuring other K-pop songwriters including August Rigo and Sophie Simmons. Kay will also take the stage at The Baby G on June 10, as part of NXNE.

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On top of Kay’s busy schedule managing her own music in recent days, she is also credited as one of the songwriters of “Around & Go”, a new track by MONSTA X’s SHOWNU, released on May 21st.

Moving forward, Kay also has dream collaborations in mind. She names Hearts2Hearts as one of her favourite new girl groups. But like many songwriters, she also hopes to one day write a track for BTS.

At 20, Kay doesn’t yet know if she’ll move to LA or Seoul like many artists end up doing. But for now, she remains happy in Toronto and is continuously inspired by the city.

“The one thing I always truly adored about Toronto is how multicultural it is,” she says.

“So many different people, so many different cultures all in one place. I love how beautiful that is.”

Kay also has advice for anyone who wants to try writing their own songs.

“I’m inspired by literally anything and everything, so I would probably tell them there’s no right way to go about writing a song. Really play around. It’s not serious and it’s very experimental,” she says.

“It’s messy. The process is never the same. It’s very diverse, and varied. Don’t be scared to just write what you feel.”

Follow Sofia Kay on Instagram and Spotify!

Sofia Kay also performs at The Baby G on June 10th as part of NXNE. For tickets, click here.

For more updates, follow bunni pop on Instagram, TikTok and Threads.

(Photo credit: XGALX)

Watching XG perform feels like you’re being transported into another universe.

From playing alien-like figures to portraying a wolfpack, the Japanese global pop group is known for its high fashion, sci-fi aesthetics while highlighting an image of power, fierceness and uniqueness. XG, which stands for “Xtraordinary Genes”, symbolizes the power and creativity of the group’s core, and aims to create a new culture beyond convention.

It’s an ambitious concept, one that XG has committed to since it debuted in 2022. While XG is a group who operates similarly to K-pop and J-pop acts, the group itself has described its genre of music as “X-pop.” The group sings in all-English, and staying true to oneself has always been at its core. An example of this was when member Cocona revealed in December 2025 they are transmaculine and non-binary, having underwent top surgery earlier that year. The news was met with praise and made headlines around the world, especially at a time when LGBTQ+ representation still has a long way to go in the music industry.

As XG prepares to embark on its North American leg of its THE CORE World Tour (including a stop at Hamilton’s TD Coliseum on November 12th!), bunni pop sat down with loudbox, a production team specializing in live concerts and stage design. As a team, Jeremy Lechterman, Jason Ardizzone-West and Jackson Gallagher, bring XG’s concept to life through hanging pods, low fog and pyro in a steampunk-inspired concert set. The trio have also worked together on high profile projects including Lady Gaga’s “The Mayhem Ball” Tour, Hikaru Utada’s “Science Fiction” Tour and BTS’s “Love Yourself/Speak Yourself” Tour.

Below, Jeremy, Jason and Jackson break down their design choices to make XG’s concert come alive.

(Conversation has been edited and condensed for length and clarity)

What was it about XG’s concept that made you want to be part of this production?

Jason: Jackson and I were introduced to their music when we were in Hong Kong, working on the Hikaru Utada design that we did two years ago. So, we actually got to see [XG’s] past concert in person when we were in rehearsals with Utada. We were very struck by their fusion of K-pop, J-pop and a more global X-pop approach to music making that seemed to really want to defy categorization and be global-reaching. We were just blown away by their music.

A lot of time passed, and it was great to be able to work with them. The concept of “THE CORE” was presented to us, which is the name of the album too. We were given free reign to really dig into what “THE CORE” meant to us and how to express these fundamental ideas. And, these seven artists coming together as this unified collective to make music and to support that through design was really exciting.

(Photo credit: Jeremy Lechterman and Jason Ardizzone-West )

A lot of what XG presents through its work is this hero’s journey through music videos. Can you tell me a little bit more about what the story “THE CORE” portrays?

Jeremy: I think they have been very pro-intention with their music videos, albums and shows. This sort of plot line of the seven of them travelling through the universe, exploring themselves and bringing their fans along for the journey. We capitalized on those kernels and turned it into a two-hour long adventure.

I think it’s an interesting question, because there is a very in-depth script for this show, and a narrative that we built out that we spent a lot of time crafting. I don’t know how much the audience perceives, but it informed a lot of our choices.

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XG portrays themselves as these otherworldly beings in their music videos, almost alien-like and futuristic. Were there specific examples of movies, music or TV shows that were part of the inspiration?

Jeremy: A big inspiration was a lot of installation art. There’s a project called Panterra, which I think is one of the starting places for us visually, which is this blend of futuristic, but cyberpunk at the same time. I think there were also some references to E.T. We pulled out a lot of spacelogy.

Jason: Metropolis!

Jackson: Blade Runner!

Jeremy: Always Blade Runner! Those are probably the kernels.

Jason: I have to say, we pulled a lot from their own history, because they have such a robust collection of really great fashion and creativity through their music videos. They’re a very fashion-forward band that really puts a lot of thought into how they present themselves. Especially the “GALA” music video, because that’s right around the same time we started sinking our teeth into this project.

Music videos are a great reference point, but what about the music itself? Did listening to XG’s music also create images in your head?

Jason: I mean, it’s all about the music. You can have a conceptual skeleton for a concert, but once you start listening to each song in the order that the setlist comes into…[you see] how the songs relate to each other.

But the actual music is really what generates a lot of the visuals. Some of it is a kind of intellectual analysis of the lyrics. But I would say, and this is something I’ve learned from Jeremy and Jackson both, is that a lot of it is just like a visceral reaction to the music. My background is in theatre, and so I’m usually working with analyzing scripts and digging into text. And there’s an aspect to designing for concerts that is also that same level of conceptual analysis. And so, it’s a really interesting combination of a robust narrative, conceptual analysis approach.

Jeremy: As much as we want to be intentional with what we are making, sometimes you just have to go with your gut. We hope that our gut is also a universal feeling for the audience.

(Photo credit: Jeremy Lechterman and Jason Ardizzone-West)

A lot of K-pop tours of a similar scale are ambitious and immersive. Without giving too much away about the North American tour, what can people physically expect in the arena?

Jason: It is ambitiously large in its scale. I would describe it as almost operatic. Yes, there’s lasers and there’s pyro, there’s lots of moving lights, there’s automated lifts, and there’s lots of bells and whistles. But, it’s also rooted in a kind of sculptural, theatrical language that we’re trying to bring more to the concert world. We’re making large-scale kinetic sculptures that are also a machine for delivering a concert, a playful way of using LED tiles in a more sculptural way as opposed to just having a video screen. It’s a hybrid physical production that blurs the boundaries between technology and sculpture.

Jeremy: At the same time, I think we are trying to elevate them. They are such incredible performers, singers and dancers and I think we tried intentionally not to make something that would upstage them. The members of XG really are a trifecta.

(Photo credit: Jeremy Lechterman and Jason Ardizzone-West)

So much of attending concerts is people filming on their phones. What kind of challenge does that give you when you want people to immerse themselves in the present moment?

Jason: I have to say the Japanese audiences are not on their phones as much as the rest of the world. They are much more present. But the show we helped craft does include the audience in the design. Most of the audience has a lightstick, which is part of the lighting and video design. We design what they do in relation to the music.

Jeremy: One thing I think Asian artists do a lot better than American artists is fan kingdoms. I think in particular to XG, the fans really feel like they are part of something. It wasn’t that hard for us to understand the relationship between XG and their fans, and understand how the fans fit into the lore.

You’ve worked with everyone from Lady Gaga to Hikaru Utada to BTS for their concerts. What is the highlight of working with so many artists that span different genres and cultures?

Jeremy: I count myself so incredibly lucky that I get to meet all these other incredible artists and visionaries and get to fly all over the world and experience so many cultures. Every project has had its merits. We were part of Lady Gaga’s Show in Rio, and that was really beautiful in terms of the size of the people. And Gaga being a woman headlining that show, it was great to be there for that moment in her career.

(Photo credit: Jeremy Lechterman and Jason Ardizzone-West)

Where do you guys stand on the use of artificial intelligence? Especially when creative industries are grappling with new technologies in concert production.

Jason: Among the three of us, have a delightfully mixed approach to it. I would say none of us are afraid of it, we use it as a tool. I think I’m probably the most distrustful and scared of it, but I also find it very compelling as a tool if it’s used as one of many tools. I personally don’t really use it to generate visual ideas. I use it to help me visualize, find ideas or find information more quickly.

Jackson: I think I’m very comfortable using it as a tool, but not a replacement for people or things or processes. It’s very helpful when trying to do early research on a project, or help sketch some mood board imagery if I am having trouble finding a specific image or a song.

But to use it as a replacement for a person or a process, that’s where I draw the line for myself. It’s an inevitability of some kind. To completely not use it, would be silly. But leveraging it as a tool for our work, not a replacement for our work.

(Photo credit: Jeremy Lechterman and Jason Ardizzone-West)

I’ve already seen videos teasing XG’s tour across North America. If you could describe this world tour “THE CORE” in two words, what would they be?

Jason: The great thing about the concert experience is it transcends language.

Jeremy: I would call it a space extravaganza.

Jackson: Journey…I don’t know what my second word would be.

Jason: Extraordinary? XG uses that word and I think that is a great word to describe them. They are the real deal. They are a triple threat. They’re incredible performers, dancers, musicians and artists. They are full-on every performance. It’s incredible to watch.

XG WORLD TOUR: THE CORE arrives in North America in November!

XG will play a concert at Hamilton’s TD Coliseum on November 12th. Click here for more info.

For more updates, follow bunni pop on Instagram, TikTok and Threads.

(Photo credit: GREAT M ENTERTAINMENT)

82MAJOR isn’t immune to switching things up.

The K-pop group has often been associated with a more hip-hop centric sound coupled with high energy dance and rap performances. But in its latest EP FEELM, 82MAJOR is embracing a sexier, more experimental sound, showcasing the group’s maturity.

“When most people think of 82MAJOR, they usually picture a really intense, powerful image, so we wanted to switch up the vibe this time,” says Nam Seong-mo in an interview with bunni pop.

“We worked hard to show a more emotional and mature side of us.”

FEELM, which is a combination of the words “feel” and “film”, is an album focused on the emotion of love, adds Hwang Seongbin. Yoon Yechan, who hails from Markham, Ontario, says FEELM is also a project that challenged the group to take on new genres.

“You’ll definitely be able to feel how much our musical spectrum has expanded,” Yechan says.

82MAJOR, composed of members Yoon Yechan, Park Seokjoon, Cho Seongil, Hwang Seongbin, Kim Dogyun and Nam Seongmo, debuted in 2023 under the company Great M Entertainment. The group has found steady success over the years. The band’s 2024 EP X-82 hit multiple Billboard Charts including World Sales, Current Album Sales and Emerging Artist.

FEELM is the most sonically diverse project 82MAJOR has put out, and members of the group pride themselves in being heavily involved in the process of composing each of the tracks.

Opening number “W.T.F” begins with a jazzy piano melody and then transitions into a high energy rap track, showcasing the bravado and unapologetic confidence of 82MAJOR as a group. “CIRCLES” delves into ‘90s grunge rock territory, while house music also plays a major influence in tracks like “CAGE” and “YESSIR!”—genres Yechan says he’s been gravitating towards recently.

According to Seokjoon, the ability to bounce ideas off of each other in the studio helps him and his bandmates transfer that same energy to live performances.

“Even on stage, rather than looking overly manufactured, we always try to show our raw, natural charm.”

While it makes sense for any artist to want to experiment with different melodies and genres, members of 82MAJOR admit there were some worries over how their fans—82DE—might respond to the switch-up in sound.

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“We tend to experiment a lot, both musically and on stage, and thankfully our fans always love and support whatever we do,” says Seong-mo. “Thanks to their cheers, even when we hesitate about trying something new, we can push forward with confidence.”

Artistry doesn’t just lie in the music, however. 82MAJOR has often been known to take on new characters and deliver cinematic music videos that play out like standalone short films. 2024’s “Stuck” saw the group portray secret agents in a kung-fu style music video. While 2025s “Takeover” had 82MAJOR taking on the role of vigilantes wreaking havoc around town.

The video for the band’s latest single “Sign” was directed by Lee Su-ho from the Korean music collective Balming Tiger.

(Photo credit: GREAT M ENTERTAINMENT)

In it, the 82MAJOR members are placed in a dystopian society where people have been brainwashed into losing true love. It’s up to the group to save the day and turn people back to their original selves.

“The message is that people who recover their ability to love will go on to change others, and ultimately, true love will spread across all relationships,” says Seongil.

Over the span of 82MAJOR’s short career thus far, bunni pop has been able to catch up with the group numerous times throughout its various musical comebacks, including a headline North American tour that saw Yechan play in front of a hometown crowd in Toronto last June.

“I think our biggest growth is that we’re now truly able to enjoy ourselves and connect with our fans through our free-spirited vibe and the music we’ve created ourselves,” says Seokjoon.

The group considers going on tours and meeting fans face-to-face as particular highlights of their career so far, and hope to one day get opportunities to attend and perform at awards shows.

With the release of FEELM, the members of 82MAJOR say they want to keep exploring new musical genres, but also play a role in showcasing the unique sonic identity of K-pop as a whole.

“There are so many groups with incredibly diverse colours in the K-pop scene, but within that, we want to be the team that shows off 82MAJOR’s signature style in the most distinct and unrivaled way,” Dogyun says.

Seongbin adds: “Since our team name includes Korea’s country code ‘82,’ we want to be a group that spreads the charm of South Korea and K-pop to even more people around the world.”

FEELM is out now! Follow 82MAJOR on Instagram!

For more updates, follow bunni pop on Instagram, TikTok and Threads.

(Photo credit: Wuzo Entertainment)

Your early twenties are a pivotal time in your life. Many graduate college or get their first big job. It’s also a time of personal growth, one where you start to figure out who you are in this world.

For singer and rapper SYA though, he chose a different path. He instead grew up in the spotlight as a K-pop artist.

At 18, he debuted in the K-pop group BLITZERS. Together with his band, the sextet have captured attention with its high energy performances, even receiving a standing ovation from Britain’s Got Talent judge Simon Cowell in 2024.

“Just being able to go all the way to the UK and take part in that kind of program was a huge challenge for me, and I was incredibly grateful for the opportunity,” SYA says in an interview with bunni pop.

“It was an unforgettable experience, and it gave me the mindset that I can continue to take on even bigger challenges in the future.”

Now SYA is taking on a new challenge as he reflects on growing older in the limelight. In February, he released his debut studio album 23:24. He says it’s a project that represents the transition between the ages of 23 and 24. During this interview, he spoke from the perspective of his Korean age (which is 25 years old). Korean age is an age-reckoning system where individuals are one-year-old at birth (accounting for time in the womb) and gain a year every January 1st, rather than on their birthday.

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“I’m in a phase where I’m preparing for another change. Since I’m now moving past the midpoint of my 20s, I find myself thinking that it’s important to further strengthen and ground myself internally.”

SYA notes his opening track “LANDFILL” as a song that shaped the foundation of 23:24. On the hip-hop track, the singer raps about his desire to achieve his dreams, even if the fruits of his labour don’t seem to be going anywhere.

“I won’t compromise with reality/At the crossroads of my life,” he raps. “I push through, just one beat off/I’ll make it eventually.”

Like many young people coming of age, SYA frequently questions whether all the hard work is worth it in 23:24. In the piano ballad “DONE”, SYA reveals more about his insecurities over his career and happiness. “Can I really be okay? Can I leave? Yeah, my dream is just something everyone laughs at,” he sings.

“I think the hardest most impactful realization for me was that I have to take responsibility for the things I’ve done,” SYA says about the challenges of growing into adulthood.

“I’m not young anymore, and carrying various responsibilities is something I believe will always be difficult.”

Things get more optimistic in “235803”, a groovy R&B track he worked on with BLITZERS member WOOJU. Together, they sing about finding a path forward with their love of music never wavering. SYA says he is particularly “grateful” to his bandmate for joining him on the project to help share his story.

“[WOOJU] brought out a feeling that I couldn’t create on my own, and that gave me great inspiration.”

Since debuting in the K-pop scene in 2020 as a teenager, SYA says he wanted to pursue a career in K-pop after attending an iKON concert during his high school years.

“Seeing the members on stage that day made me feel, ‘I want to stand on a stage like that someday,’” SYA recalls.

From there, he began studying how to rap. He lists artists like Kendrick Lamar, A$AP Rocky and Post Malone among his biggest influences.

But as he notes in his album 23:24, being a musician is anything but easy. There are constant self-doubts and insecurities. But in the end, SYA says the challenges have helped him build strength and resilience.

“[My career] has taught me how to endure, how to be patient and how to accept things as they are. Overall, it helped me become more mature and stronger.”

SYA encourages his fans—BLEE—to keep going no matter how hard things in life may seem.

“I want to say that it’s crucial to never give up and to share your own voice and intentions with the world.”

Quick fire questions!!!

If you could have one superpower, what would it be?

TIME MACHINE

You are stuck on a deserted island with one of your BLITZERS members. Who would you pick to help you escape to safety and why?

WOOJU, I want to live my life fully, enjoying it to the fullest, even if it’s just for fun.

Would you rather talk to animals or travel into a storybook?

Talk to animals

If you could only eat one meal for the rest of your life, what would it be?

RAMEN

If you can travel back in time, which decade would you choose and why?

I want to go back to the golden era of hip-hop and ride the wave of that era’s vibe.

Follow SYA on Instagram and BLITZERS on YouTube!

For more updates, follow bunni pop on Instagram, TikTok and Threads.

According to social media, people are in “a very Chinese time” of their lives. Apparently it’s cool to drink boiling hot water, wear house slippers and consume goji berries for health and wellness. This may be a trend for a portion of the Western world at the moment, but for me, it’s been my reality.

The truth is, I didn’t always have pride in my Chinese culture—despite growing up in a predominantly Asian community in Toronto. People at school commented in the hallways about it smelling “like rice.” Classmates in school jokingly called me a “chink”—a slur often used for Chinese people. Others gave me the nickname CPS—which stood for “Chinese porn star.” Shamefully, there was a time I laughed along with my classmates, realizing later on that I was both the subject of fetishization and ridicule.

It took me years to fully embrace my Chinese heritage—even write proudly about it. So honestly, the fact that being Chinese is “trendy” in 2026 gives me a bit of the ick.

Still, I was able to let go of my mixed feelings at the recent Jackson Wang concert in Toronto. That’s because the atmosphere around the venue was in fact “very Chinese.” Everyone around me was speaking a form of Chinese dialect. And during the show, a man behind me kept yelling “Jackson, you are so handsome” in Cantonese. I felt right at home at the Coca-Cola Coliseum—especially as I too, am Chinese with Hong Kong roots like Wang.

Wang, who first debuted in the K-pop group GOT7 in 2014, is somewhat of an icon for the Chinese community. The singer was born and raised in Hong Kong, but has since moved his home base to Shanghai to be closer to his parents.

Unlike singers who come from the polished and controlled K-pop idol system, Wang is a singer who has managed to break out of those barriers. He curses in songs and in conversation. He openly talks about sex, announcing at the end of the show his next project is going to be called SEX GOD. And he frequently embraces his masculinity and sexuality in performances, dressing in see-through tops and inviting fans on stage to give them personalized Magic Mike-styled dances.

@bunnipopletter@Jackson Wang 王嘉爾 잭슨 announces his next comeback is called “SEX GOD”. #jacksonwang852g7 #jacksonwang #cpop #kpop #magicman2

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Wang also embraces the complexity that comes with being a human being, opening up about mental health and going through dark spirals. His latest album MAGIC MAN 2 was written during a period of time where he was trying to find himself.

“I realized that I missed a lot in my 20s, good moments and bad moments. It came down to a point where I was like, ‘I don’t even know what Jackson Wang is anymore,’” he told me in an interview for GRAMMY last July. “I felt like I had to take this time off to get closer to my inner self to ask, ‘What is my purpose and value of just being alive?’”

Wang is also fiercely proud of his Chinese heritage, often introducing himself as “Jackson Wang from China”. He frequently makes a point of speaking Cantonese and Mandarin during concerts and interviews. At times, this part of him has even drawn both criticism and praise by his own community who have different political stances. In 2023, during a concert in London, Wang called out the negative reporting of China by Western media outlets, describing it as “propaganda bullshit.” Wherever you stand on the political spectrum, the Chinese community is still often seen as a monolith. Wang’s outspoken nature shows we are nuanced human beings with different views.

Wang’s concert is both a tribute to his journey growing up, his fans and his parents. He pays fan service, playing party host to attendees at his show. In a video essay that comes in the middle of the concert, Wang openly discusses the dark depressive spiral he entered in 2023, which led him to take a year-long break back home with his family.

The second part of the concert is also dedicated to his parents. Wang blends voice memos of relatives speaking Cantonese and Mandarin in a track called “Dear.” “You’re working so hard. Did you come home yet? Have you eaten dinner yet?” his mother asks in Cantonese. In Chinese culture, the question is often a term of endearment used to check in on loved ones. He later sings a tribute to his mom and dad in a song called “Sophie Ricky.”

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“I realized us and our parents, it feels like we’re on the same street, but they’re just further up,” Wang told me back in July. “I just wanted to give flowers to them, and also be able to appreciate how much of a sacrifice they gave me and my brother.”

Wang also repeatedly reminds the audience to “find their own happiness”. As Chinese people, we are often told to conform and put our heads down in order to succeed. Wang breaks free of that stereotype, encouraging others to find their own path in life.

“Life can be very beautiful, but sometimes we have to be assholes,” he says after a performance of GBAD.

Wang is also out to have a good time, as he brings hundreds of fans on stage with him to rave during the encore of his show. But in the end, his message to the audience is blunt. “Everyone’s having a hard time. The world is on fire,” he says. “We have to treat ourselves better.”

The thing that makes Wang an important figure in Chinese pop culture is the fact that he doesn’t portray himself to be perfect. He’s just human, and that itself should be a lesson for first-generation/second generation Chinese kids that it’s okay not to be everything in life.

In a culture that often preaches conformity and stability, Wang’s advice to go against the grain is a good reminder that we too deserve good things in our lives if it makes us feel fulfilled. While non-Chinese people will resonate with that message, Wang’s words still felt rather directed to his own kind.

To me, the most Chinese thing of all about Jackson Wang was seeing a man of the same heritage as me being embraced on stage by his community. He owns the messiness and complexity of life. He preaches self-love and self-respect. He loves the unconventional job he has as an entertainer. Most importantly, he’s unapologetic about it all.

As fellow Chinese people, we can all take something from that.

In related news…

I got a kick out of Jackson Wang asking for Toronto recommendations, as he announced during his concert he would spend four days off in the Canadian city before he heads to Latin America for a tour.

Immediately after the show, he was flooded with recommendations. Most Chinese of all, it was hilarious seeing people sending him to Scarborough and Markham, which arguably has the best Cantonese food outside of Hong Kong.

“You know what’s the best food? Whenever you travel to where I grew up like Hong Kong, Shanghai, Guangzhou, if you’ll ever travel to my city, you’ll know.”

“When you walk in, the boss is mad. Then you know you getting some good food!”

We know you miss your cha chaan tengs Jackson! So without further ado, here are my recommendations.

1. First Markham Place - get some BBQ Pork. Real ones wanna know if you prefer the yellow or white stall!
Address: 3255 Hwy 7, Markham, ON

2. Cafe de Hong Kong - for the pineapple bun fried chicken sandwich
Address: 11 Fairburn Drive Unit 12-15, Markham, ON

3. Bahn Mai Pho An - cheap Vietnamese sandwiches!!
Address: 3833 Midland Ave unit 6, Scarborough, ON

4. Fragrant Bakery - it may be extra cramped inside, but the egg tarts are too delicious!
Address: 3833 Midland Ave unit 17 (located in Evergold Centre)

5. Great Fountain - expansive menu of Chinese food. Meet the sweetest, most wholesome family running the stall!
Address: Dynasty Centre Food Court in Scarborough, ON

6. Sam Woo’s - late night Cantonese eats.
Address: 375 Bamburgh Cir, Scarborough, ON

7. Daan Go - For delicious, Instagram worthy Asian-inspired desserts made by Masterchef Canada winner Christopher Siu!
Address: 3380 Midland Ave, Unit 11 (You can also go to Toronto’s Chinatown if you’re staying downtown)

For more updates, follow bunni pop on Instagram, TikTok and Threads.

(Photo credit: Blue Dot Entertainment)

While JUSTB has been active as a K-pop group for five years, 2025 marked a rebirth of the six-piece act.

Over the years, the group has explored genres from pop-rock in tracks like “MEDUSA” and “Daddy’s Girl”, to hip hop and EDM in songs like “TICK TOCK” and “DAMAGE.”

But it was branching into the grungy, maximalist sounds of hyperpop that brought new attention to JUSTB, composed of members Geonu, Bain, Lim Ji-min, Siwoo, DY and Sangwoo.

The group also received attention for breaking barriers in 2025. Last April, Bain came out as gay during a concert in Los Angeles. This announcement made him just one of very few LGBTQ+-identifying artists working in the K-pop industry right now.

“I hope that by sharing my story, I can help create a space where future artists don’t feel like they have to hide who they are,” he told me last year. “If even one person feels a little less alone or a little more seen because of what I shared, that means everything to me.”

By the end of 2025, publications like Billboard and Hollywood Reporter named JUSTB’s single “CHEST” among their top K-pop songs of the year.

“Having ‘CHEST’ recognized by outlets like Billboard and The Hollywood Reporter really validated the direction we chose to take with our music,” Bain said in an interview with bunni pop during a recent stop in Toronto as part of the group’s SNOW ANGEL TOUR in North America.

“It was a bit of a risk for us, so seeing it resonate on that level is incredibly rewarding. At the same time, it also motivates us to keep pushing ourselves and stay true to what we believe in musically.”

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Embracing the hyperpop sound is also a way in which JUSTB has taken ownership of its identity and sound as a group. Unlike the flashy bright colours often worn by K-pop bands, JUSTB has taken on a more industrial or punky style in fashion. Geonu wears his hair shaggy with blond highlights, while Bain wears bleach brows and glittery eye makeup. Meanwhile, Sangwoo has grown out his hair and dyed it blond. And as a group, members are often seen opting for baggy dyed jeans, hoodies and leather.

According to Sangwoo, hyperpop artists like kim j, 2hollis and natesib are among the group’s biggest influences. Geonu, who co-writes many of the band’s songs, is also a diligent pupil of the electronic genre, naming DJs Mechatok and aidn. as current inspirations.

“Since 2024, I’ve been deeply immersed in sounds like Digicore, which felt both refreshingly new and strangely familiar,” Sangwoo says.

“That paradoxical feeling led me to take this genre more seriously. Believing that others would resonate with these sounds as much as we did, we leaped in.”

JUSTB’ latest EP SNOW ANGEL dives deep into the band’s electronic direction, with producers O.Kwon and Forgotten Melodies playing principal roles in developing the group’s sound.

Lead single “TRUE HEART” is energetic and frenetic, with its pulsing synths in the background giving the impression of a track you’d hear in a Berlin nightclub. Meanwhile, “FREEDOM” takes a moodier turn, seeing the band singing about the push and pull of life.

“I think the emotions we feel aren’t always soft or easy to define—they can be intense, messy, and even a bit chaotic,” Bain says.

“Hyperpop gives us the space to express those feelings without filtering or simplifying them. It might come across as aggressive to some people, but for us, it actually feels the most honest. It lets us show who we are in a really raw and unfiltered way.”

While JUSTB’s hyperpop direction feels unlike anything being released by K-pop groups right now, Geonu still stops short of defining the band outside of the genre.

“I know our music feels different comparing to other K-pop music,” he says. “I would like to say JUSTB will forever be K-pop since we are all born in Korea and grew up with Korean culture. But also, [I] would love to hear people debating or considering if JUSTB is under K-pop or not.”

RELATED READING

Now JUSTB is embarking on another North American tour.

The group recently played a show in Toronto on March 27th. The city is close to the group’s heart, having performed here four times over the years.

“Toronto was always cold every time I came, but thanks to ONLYB [JUSTB’s fandom name], they made this city’s memory warm and happy,” Siwoo says.

“When I see ONLYB’s happy eyes, I get energized, and I try to make eye contact with each and every fan throughout the performance.”

For those seeing JUSTB across the U.S., Siwoo also promises performances to tracks from SNOW ANGEL, as well as a few surprises.

“There will be no time to be bored. I hope you enjoy it with us.”

Tickets are on sale now for JUSTB’s SNOW ANGEL TOUR!

Follow JUSTB on Instagram and YouTube!

Get in touch by emailing bunnipopnewsletter@gmail.com. Or, follow bunni pop on Instagram, TikTok and Threads.

(Photo credit: @nmixx_official/Instagram)

I admit that it took me a while to warm up to NMIXX.

When the group debuted in February 2022, its debut song “O.O” was met with mixed reviews—with many describing the song as disjointed and feeling like multiple different songs at once. It plays like a highlight medley, starting off as a hip hop track, then venturing into high energy rock-pop. It’s ambitious to say the least, but it also felt messy.

In the beginning, NMIXX’s songs took me on a sonic ride that left me confused as a listener.

But soon, I learned this is all part of NMIXX’s style—which requires an acquired taste.

NMIXX is known for its signature sound it describes as “MIXX POP”, which blends contrasting musical genres like pop-rock, hip hop, and funk.

While it did take me a while to buy into what NMIXX was aiming for, the tides eventually turned for me when the group made an appearance on Tiny Desk Korea last January. With nothing but a live band behind them, each of the members proved their vocal prowess and harmonies.

At at time when so many performers value choreography, visuals and overall stage presence, I have noticed many musical acts putting live vocals on the backburner to prioritize the overall spectacle of a performance. It was refreshing to see NMIXX showing why live vocals still matter. And it was then I decided I’d like to see this group play live.

NMIXX kicked off the North American leg of its [EPISODE 1: ZERO FRONTIER] World Tour in Toronto on March 29, backed by a live band. It was the first time the group was playing in Canada overall, which meant tickets for the show sold out pretty quickly after they went on sale last December.

It also helped that NMIXX was coming off of a very successful 2025, which is also the year I thought the group had finally found its footing sound-wise.

The release of its EP Fe304: Forward has been one of my favourite recent K-pop releases for the song “High Horse” alone. The track is a particular stand-out, featuring a unique blend of hip-hop, jazz, breakbeat and pop. It’s hauntingly beautiful and complex. The vocals are immaculate. The song did not feel overwhelming like its predecessors, and it was then that I finally felt NMIXX had found its true MIXX POP sound.

NMIXX continued its run of successful hits with the release of “Blue Valentine”—a euphoric pop-rock song with a great hook that makes you want to run across a field during the chorus.

During the Toronto concert, I was finally able to witness what makes NMIXX work as a group, as the band jumped from genres like hip hop, pop to rock. When a group’s signature is its ability to meld genres together, having a live band there is a perfect move—highlighting what makes NMIXX unique as performers and vocalists.

The first portion of the show highlighted NMIXX’s confidence on stage, jumping from tracks like “O.O”, “Run for Roses” and “Soñar (Breaker).” There was also space for more complex choreographic performances, as highlighted in tracks like “SPINNIN’ ON IT” and “High Horse.” For the latter, Bae and Kyujin also delivered a lyrical dancebreak that particularly impressed the crowd.

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Though knowing that the group is full of powerhouse vocalists, it was the singing I was watching out for. Lily, the main vocalist of NMIXX, pulled all the stops, belting impressive runs in songs like “Break the Wall” and “Adore U.” Haewon and Kyujin always highlighted their gorgeous vocal tones during “Blue Valentine.”

I even found myself intrigued by the number “TIC TIC”, which is a collaboration with Brazilian pop singer and drag performer Pabllo Vittar. It’s an earworm from start to finish, allowing the band to explore the Latin pop genre. The choreography, which sees the NMIXX members emulating a ticking clock, was a particular crowd pleaser and also had the audience bopping along.

The encore part of the show also let the NMIXX girls let loose, as they broke out “Funky Glitter Christmas”—drawing confused laughs from the audience as to why the group was singing a holiday track in March.

As is tradition at most Canadian K-pop shows, NMIXX were also greeted with a fanmade video by NSWERs (NMIXX’s fanbase), welcoming them to Canada. Lily had a beautiful response, which I think captures the wide appeal of K-pop and its fans.

“I am so so thankful for you guys so far away, still continuing to support us despite the language, cultural barriers,” she said during the band’s encore.

“That’s the beautiful thing about K-pop, I think, is that it really unites so many different people from all over the world.”

While NMIXX’s music may take a while to sink in for many, I think the show finally fully let me embrace what it is that makes NMIXX’s MIXX POP sound stick.

At a time when many acts value overall stage presence over vocal performance, watching NMIXX felt refreshing.

The band’s concert in Toronto proved its versatility to jump from concept to concept—from confident, bubbly to emotional. I never once felt the energy drop in the concert venue. Plus, I very much valued hearing live raw and stable vocals, all while delivering intense choreography.

For more updates, follow bunni pop on Instagram, TikTok and Threads.

(Photo credit: BIG HIT MUSIC)

I’m not one to stay up late at night. But even I could not help but wait until midnight last Friday to listen to BTS’s first comeback since 2022.

ARIRANG is the K-pop group’s first big release in almost four years. The pressure has been building ever since the BTS members enlisted in the military. And as the days crept closer to March 20th, anticipation was very high.

A name like ARIRANG (named after a UNESCO-recognized Korean folk song that serves as the nation’s unofficial anthem) comes with a lot of weight. For BTS, it’s a signal of paying homage to their Korean roots. But for a band that has reached the highest heights of fame globally, their new era also marks a direction of making music that would equally appeal to a western audience.

K-pop—for lack of a better word—has been in a bit of an identity crisis since BTS went on hiatus as a group in 2022. Even BTS is not immune to this shift in the industry.

I know it sounds dramatic. The optics and facts even suggest this argument is wrong. Internationally, K-pop seems to be everywhere—from the Billboard charts to music festival lineups. Not to mention, a film called KPop Demon Hunters just won two Oscars and a Grammy earlier this year.

But while K-pop seems to be finding mainstream attention overseas, it has been struggling to find resonance back home in South Korea. According to experts who spoke to The Guardian and The Korea Times, the domestic market is “weakening” for K-pop. Album sales, a marker of the industry’s success, are down. Exports of physical albums are also slowing in major markets.

By the time BTS went on hiatus in 2022, this shift around K-pop’s sound was already happening—even for them. The release of its English-language songs “Dynamite” and “Butter” helped catapult them into global fame and earned the group Grammy nominations. But despite the songs’ successes, funnily enough, even Jin admitted a song like “Dynamite” did not resonate with the group at first. “It was never a song that the members favoured,” the BTS singer said on the Netflix variety show Screwballs.

But even as BTS started making music to cater to more international audiences, their absence from the K-pop industry between 2023 to 2025 has been sorely missed.

This period of time marked an influx of comebacks and debuts of new K-pop groups, making the industry both overwhelming and difficult to keep track of. Afrobeats, amapiano and trap—inspired by the likes of Tyla and Travis Scott—started defining newer K-pop songs, making them all sound similar. And while groups like NewJeans helped fill the void with its minimalistic, Y2K sound, that success has since ended prematurely with legal battles and a member getting kicked out of the group.

As for BTS, it was a smart business decision for each of the members to release solo music and space out their military enlistments. The last three years also saw SUGA, j-hope and Jin go on their own respective solo tours. This period marked an exploration of each member figuring out their individual sound. But a question loomed in my head: Could they come back stronger as seven members?

(BTS during their performance in Seoul on Saturday. Photo credit: Netflix)

The release of ARIRANG and BTS’s comeback concert in Seoul this past weekend proved the group has maintained their strength and bond as a cohesive unit. But, it also isn’t lost on me that their latest album is the most western the band has sounded since their debut in 2013.

The album is stacked with producers like Diplo, Ryan Tedder, Mike WILL Made-It and Tame Impala’s Kevin Parker. But despite this, BTS makes room to pay homage to their roots and experiment with different sounds.

The first half of the album feels true to BTS’s earlier hip hop tracks circa 2014’s Dark and Wild. “Hooligan” plays with a string arrangement that blends in with clashing swords. Similar to the band’s “Cypher” tracks, the group is rowdy and braggadocious, showcasing the members’ unapologetic nature. Meanwhile, “Aliens” grapples with BTS’s identity as global superstars, but are still too “Korean” to certain critics and detractors in the west.

The second half is what I would consider more commercially pop, focusing more heavily on the group’s vocal strengths. BTS, a group that has also often sung about mental health, urge fans to move forward through life in the ballad “Swim”. While “Normal” sees the band opening up about the emotional toll of fame.

The most sonically interesting track on ARIRANG though, comes in the opening song “Body to Body.” Set to a thumping dance pop beat, it comes to a climax as an emotional recording of “Arirang” is remixed into the bridge. The message is evident from this—as everyone pays attention to BTS, they too are looking at what Korea has to offer.

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While BTS’s ARIRANG will undoubtedly be a commercial hit by nature of BTS’s global stardom, the band’s evolution in sound still has not been met favourably by some.

Some music writers I know have shared openly that they have found the tracks of ARIRANG really difficult to get through as it is “too noisy” and “not the BTS” they have gotten to know through more sentimental eras like Love Yourself (circa 2018). Joshua Minsoo Kim, a reviewer for Pitchfork, also only gave ARIRANG a 5/10 review, describing the project full of “generic songs” that “ring hollow and lack the vim and vigour of the band’s best work.”

BTS themselves have also generated criticism for whitewashing the legacy of Howard University— the oldest historically Black post-secondary institution in the United States—in a trailer promoting the album. The clip, which pays homage to the first known recording of “Arirang” by Korean students at Howard, features predominantly more white faces than Black people. That understandably has upset several people.

@bunnipopletterDoes the #arirang trailer white wash history? Some say @BTS is missed the mark while paying homage to the past. #bts #bangtan #kpop #btscomeback

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As a band like BTS reaches the highest levels of fame, it has become clear that they will not satisfy everyone. And that should be expected.

I have always said that your faves should not be immune to constructive criticism. Even BTS should be allowed to evolve and grow. If everyone is satisfied, it’s a sign that they’re doing something wrong.

As for me, ARIRANG is an album I have had to sit with for a while before deciding what I liked and didn’t like about it. Vocally and production-wise, it takes the biggest risks I’ve seen the band take. And it’s evident in songs like “Into the Sun” and “Like Animals”—which veer into more indie rock territory. Meanwhile, a track like “2.0” still feels a bit too repetitive for my liking.

What I will say though is that ARIRANG is the first K-pop album in a while that has really made think about the meaning behind it. So much of K-pop these days is a dizzying array of mini albums and EPs with songs that lack any form of storytelling or substance.

And while the pressure is on for BTS to inject some excitement back into the K-pop sphere, I can honestly say that it thrills me to see people dissecting and interpreting art in a genre that has at times felt more about the streams and the money.

For more updates, follow bunni pop on Instagram, TikTok and Threads.

(Photo credit: JYP Entertainment)

How does a group stay at the top of its game 10 years later? One only needs to look at TWICE to understand why the powerhouse K-pop group continues to be as popular as it is.

On March 6 and 7, the girl group played two shows in Hamilton’s newly renovated TD Coliseum, marking the band’s second return to the GTHA since the band’s first appearance in Toronto in 2023.

Since its debut in 2015, TWICE’s star has only continued to rise. While its beginnings were marked by bubblegum pop and girlish concepts with songs like “Cheer Up” and “Likey”, the group has been able to evolve in recent years.

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The last three years marked a transition to more powerful anthems, with the members embracing their femininity and flirty sides in hits like "Moonlight Sunrise” and “Strategy.” The ladies of TWICE have also taken on more fierce and independent personas. Just one listen to “This is For” is enough to make you feel empowered.

I was excited to see TWICE return to Canada since 2023 (this time around, the band performed in Vancouver, Montreal and Hamilton). After all, the K-pop group has had a massive 2025—from contributing to the soundtrack for the film KPop Demon Hunters, headlining Lollapalooza to performing at the Victoria’s Secret Fashion Show. In fact, the band’s impact was so massive during the latter event, that a bra worn by member Tzuyu at the VS show immediately sold out.

In Hamilton, I was surprised to see tickets for the TWICE concert moved slower than usual, compared to other dates. Several in the audience even ended up with seat upgrades. Perhaps it was the fact that commuting from Toronto to Hamilton is not for the weak (give yourself 1.5 hours there and back on the train or bus). I thought I was a brave soldier, doing the journey two days in a row. But by Sunday, I needed a full rest day.

(Photo credit: JYP Entertainment)

Still, it was fantastic to finally see the new renovations done at TD Coliseum, having attended both Blackpink and ATEEZ concerts there in 2022. The vibe back then gave old hockey arena vibes, with very little space to move around. But this time around. getting into the venue was a breeze and very organized. The seats also felt kind of luxurious!

Now when it comes to the show, I was impressed to see TWICE going with a 360 stage, allowing fans to see each of the members from all angles—whether they were in the pit, sitting in the lower bowl or the nosebleeds.

The first night, Jihyo came towards my section multiple times, and I was completely captivated by her. A common sentiment in K-pop spaces is that Jihyo is a woman who absolutely loves her job, and I can completely see why. From the vocals to choreography, she never missed a cue or move. This tour has been relentless schedule-wise. When comparing Jihyo’s energy to her members, I could tell that some of them seemed exhausted and a bit out of it. It perhaps also didn’t help that many in the audience stayed put filming on their phones, only to get up from their seats when members of TWICE called them out to stand up.

Dahyun, who is currently on leave recovering from a fractured ankle, was also sorely missed. Known for her energetic and funny personality, she played a huge role in riling the crowd up in Toronto back in 2023—even encouraging them to bark for her. Her absence made me realize just how important a role she plays in the dynamic of TWICE. Perhaps there would have been more energy had she been around?

While members of TWICE seemed a bit more subdued than the performances I witnessed in 2023, the show was still a spectacle from start to finish. The members were backed by an amazing live band. A crew of dancers also populated the entire 360 stage during higher-energy numbers, giving fans across the arena a great view of the show. The stage also moved up and down, adding more dimension to the concert.

Witnessing TWICE ten years into its career is proof of the group’s professionalism and confidence. It was showcased through the group numbers like the girl-power anthem “Right Hand Girl” to each of the members’ solo stages. Jeongyeon embraced her country side, going full Cowboy Carter during her performance of “Fix a Drink”. Momo displayed the precision of her dancing in “Move Like That”—showing the audience exactly why the K-pop industry has dubbed her the “dancing machine.” And Jihyo caught the most screams for her attitude-filled performance of “ATM” (co-written by KPop Demon Hunters songwriter EJAE, by the way!).

(Photo credit: JYP Entertainment)

On stage, I saw women owning their power yet still embracing their femininity and strength. While it was clear that some of the members were not feeling 100 percent (Nayeon and Jeongyeon had both mentioned they were feeling under the weather that weekend), their experience as veteran performers came through as not one vocal note or dance cue was missed.

I have always counted TWICE among my top three K-pop groups, simply because of its ability to continuously produce hit after over the years. That to me is the definition of longevity. And while several mainstream outlets often consider groups like BTS and Blackpink as household names of K-pop, TWICE should absolutely be part of that conversation.

The concert this weekend proved TWICE has more than worked their way up to the top.

For more updates, follow bunni pop on Instagram, TikTok and Threads.