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.

(Photo credit: VENDORS)

If you’re a lover of K-pop, you’re likely already familiar with EL CAPITXN’s sound.

For the past decade, he has built a career as a songwriter, producer and DJ, composing songs for the likes of tripleS, IU, PLAVE and ZEROBASEONE.

However, he is perhaps best known as an in-house producer with BIG HIT MUSIC, helping craft music for the likes of TOMORROW X TOGETHER and BTS.

EL CAPITXN’s knack for creating catchy earworms is both versatile and eclectic. He captures the silly and campy nature of “That That”, sung by PSY and SUGA. On songs like “Take Two”, he can easily help a band like BTS capture the warm feelings of nostalgia they have for their fans. While on a track like “Daechwita”, EL CAPITXN is also able to play with the unexpected—melding trap and hip hop with traditional Korean wind instruments like taepyeongso.

‘“Daechwita’” was an unsafe choice,” EL CAPITXN tells bunni pop in a recent interview.

“I brought traditional elements and modern sounds into a head-on collision, and I couldn’t be sure how that combination would be received. However, the direction was clear. It was a result of choosing conviction over compromise, which is why it stays with me longer.”

It’s that risk-taking that EL CAPITXN is keen to grow on, now as he heads on his headline tour WHO KILLED EL?—with Canadian stops in Vancouver (March 8) and Calgary (March 13).

“WHO KILLED EL? is a question I am asking myself. I have performed under the name “EL” for a long time, and that name has been with me through many moments. However, from a certain point, I felt that the name no longer fully described who I am now,” EL CAPITXN says, while explaining the meaning behind his tour name.

“This tour is not about denying the past. It is a story about how to handle my past self.”

Born Jang Yi-jeong, EL CAPITXN first began his career in K-pop as a member of the boy group HISTORY, which debuted in 2013. While he became known for his talents as one of the group’s main vocalists, over time he struggled with vocal issues—something he shared candidly about on SUGA’s YouTube talk show [SUCHWITA].

Still, EL CAPITXN’s love of music never wavered despite his challenges. He was later brought on as a producer for BIG HIT MUSIC by SUGA to create music behind-the-scenes, and also founded the production collective VENDORS.

“I loved the moments of singing and seeing someone’s expression change,” EL CAPITXN says, when asked about why he pursued a path in music.

“As time passed, music became a choice rather than a hobby. It was the result of choosing direction over stability.”

Working behind-the-scenes, the 32-year-old says writing and producing for other artists comes with the challenge of learning to hold back on his own individuality in order to fit with an artist’s identity and concept. The process has also given him further appreciation for the intensity of collaborating with others.

“It is the process of reducing my own colour. Even if it’s a good idea, I have to let it go if it doesn’t fit the artist’s world. I believe the producer’s role is not to reveal themselves but to make that person more distinct,” he says.

For him, it’s not the beat or melody that comes first in crafting a song. Rather, it’s the “direction of emotion.”

“Whether this song will soar, dive deep, explode, or suppress, once that direction is set, the melody and rhythm follow naturally. I believe a song is a result of choices rather than technical skill.”

Now as he prepares on his own tour, EL CAPITXN has the unique challenge of figuring out the story he wants to portray to his audience, all while showcasing his talents on the stage.

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In preparing for WHO KILLED EL?, EL CAPITXN wanted to create more than a DJ set, but an experience. He meticulously planned the timing of transitions, lighting, instruments and setlist—making the deliberate choice not to release his original music formally before hitting the road. He says he wants to see the audience experience his songs in real time, even if the tracks are not perfectly polished.

“In a live performance, the audience's breathing is the most important. I calculate where their focus rises and where their gaze stops,” he says.

“It might be unstable or raw, but that tension is the core of this tour.”

The result of how audiences react on tour will help inform the direction EL CAPITXN will go as a musician taking the stage on his own for the first time. While he is proud of his work creating hit songs, his ultimate goal is for people to hear his music and stick with it—even if it draws confusion or mixed feelings.

“I have successfully completed many projects as a producer, but now I want to go beyond simply making good songs,” he says.

“I hope that when the show ends, [audiences] are left with the thought, ‘What did I just see?’ rather than just ‘It was good.’ That is the core of this tour.”

Follow EL CAPITXN on YouTube and Instagram. Tickets for the WHO KILLED EL? tour are on sale now!

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

(Photo credit: Kevin Woo)

For Kevin Woo, moving back to the United States took a leap of faith.

In his teens, Woo uprooted his life from Danville, California to pursue a dream of becoming a singer in Korea. And for nearly a decade, he performed as a member of the second-generation K-pop group U-KISS. Being part of the second generation of K-pop was a pivotal time, as it was during this period that Korean culture started going international. Taking place approximately between 2003 to 2012, this era of K-pop helped usher in iconic groups including Big Bang, Girls Generation, Wonder Girls and 2NE1.

“Those were like the golden days of K-pop,” Woo, now 34, reminisced, during an interview over Zoom.

Despite K-pop’s rapidly growing popularity across the globe, Woo always knew that he’d one day come back and pursue a career back home in the United States. But leaving U-KISS in 2017 wasn’t easy. “It was one of the hardest decisions of my life,” Woo said, noting his strong familial bond with his former bandmates.

But after a decade in Korea, he knew it was time for a change. “I’ve always wanted to expand my horizons.”

By the time he left U-KISS in 2017, Woo knew he’d have to start over from scratch in the U.S. But he credits the resilience and drive built over his K-pop trainee days that have allowed him to never give up on his dreams.

2025 marked a pivotal year for Woo, who used his K-pop experience to contribute vocals to the soundtrack of KPop Demon Hunters. And now, he enters familiar territory in Anderson .Paak’s feature film K-Pops!, which is officially out in select theatres.

While it is only releasing now, K-Pops! actually had its world premiere at the Toronto International Film Festival in September 2024. I connected with Woo for this interview a few days after the film’s very first screening. And exactly one year later, Woo and I briefly chatted again at TIFF when he and his co-stars (Audrey Nuna and REI AMI) brought a killer KPop Demon Hunters karaoke party to Toronto.

K-Pops! revolves around a washed up musician (played by .Paak) who attempts to revive his career by joining a K-pop competition house band in Seoul. But his life soon turns upside down when he discovers a contestant is his long-lost son (played by .Paak’s real-life son Soul Rasheed). During the film’s world premiere, .Paak says he wanted to create a film that embraces both his Korean and Black roots.

In K-Pops! Woo plays a rival contestant named Kang in the K-pop competition. Below, he discusses his role, working with .Paak and reflects on the changes K-pop has gone through since his U-KISS days.

Conversation has been edited and condensed for length and clarity.

You were in Toronto for the world premiere of K-Pops! What was that like?

It was a dream come true moment for me. It was my big screen debut, and what an honour to have it at TIFF. You know, it’s a dream for many actors and filmmakers and I’m just so fortunate and privileged to be a part of this amazing cast and to share that moment with Anderson and his son Soul. Also, just watching it for the first time on the screen, it was really beautifully put together. I feel like a lot of audiences were really able to resonate with the deeper themes that were underlying in this movie, like love and family, hope and chasing after your dreams.

How did you get approached to be part of this movie?

The script was sent over to me by my manager, and I went through the old fashioned way of auditioning, sent in a self tape, and then went through a whole process of chemistry reads and all that.

When I first received the script, I’ve never seen anything like it. It’s really hard to find representation being an Asian American in Hollywood. So when there was something called K-Pops!, I was definitely intrigued and so drawn to the script. I just knew I had to be a part of it. I sent in my acting audition, my singing clips and dance clips so the casting directors knew where I was coming from. I’m happy I was able to bring all my experiences and authenticity to the table.

You play a bit of an antagonistic role. Did that in any way take you back to the cutthroat nature of the K-pop industry?

Funny thing is, when we were preparing and rehearsing for this movie and this [fictional] competition show, it felt almost like reality.

It felt like I was kind of tied more back into my K-pop days when I was in U-KISS. When we were training, it really felt like I was in this cutthroat competition myself and the lines were kind of blurred between reality and fiction. It didn’t feel too foreign, but it was definitely a fun experience to share it with the other talents and actors cast who don’t have the K-pop experience. I was able to really bring that to life for them.

Did you offer any of your own insights to Anderson .Paak about the K-pop industry?

Totally. Anderson is a big fan of K-pop. And also Khaila [Amazan], who co-wrote this film with Anderson is a big fan of K-pop. Dumbfounded (who plays Cash in K-Pops! and serves as a producer in the film) is also really well-connected to the Korean-American culture and community. He is also a musician.

They were asking a lot of good questions on how competitive K-pop was, and what the sacrifices we had to make during the process. I remember during the first table read with Anderson and the cast, they were asking me a lot of good questions on what my experience is. What was it like as a Korean-American in K-pop? And what were some of the cultural differences I faced when I first moved to Korea at 15?

I was able to give my input into the movie, and I was really happy that I was the one to represent K-pop in this film.

One of the things Dumbfounded also said during the post-screening Q&A was how important it was to make this film for “the culture.” As a Korean-American in K-pop, what responsibility did you feel about representing that?

When you’re up for a role like this, the weight of representing a culture and K-pop is not something that really hits you first. You’re really kind of immersed into this world and building the story. But as we were filming it, and also coming up to TIFF with the world premiere, I felt the weight getting heavier and heavier. I felt a lot of pressure. There will be a lot of eyes and audiences that will be seeing this film. I was like, “Oh, all I could do is give it my best.”

You know, at the end of the day, that’s my life experience. No one can ever deny that. I was just like, “Let me just be myself and show my experience to the story. Let it speak for itself.”

This movie touches on a lot of universal themes—like family, chasing your dreams and embracing your Korean heritage. Anderson himself wanted to make a film that taps into his own Korean roots. Why do you think it can resonate with audiences?

First of all, chasing after your dreams, that’s been a big driving force in my life. And this movie is something that I would have wanted to see when I was a kid because I didn’t really get to see people like myself on the big screen or even in American media. I always knew I wanted to perform. I wanted to be an artist at such a young age.

Because I didn’t see that representation in America, the only outlet for me was Korean music. My choice was to leave America and go to Korea at the age of 15 to pursue K-pop. There were so many obstacles along the way. I was a teenager, I was coming from a whole other culture from America and going into Korea and having to adapt to a new society, Even the whole training process where it was so cutthroat for a little kid, it’s a lot.

There were so many moments where [I] wanted to give up, but no matter what, you just gotta stay true to yourself and your passion. I feel like that’s a strong message that’s being portrayed in K-Pops!

And also, family. My parents were immigrants in the late ‘80s. And, I grew up with very Korean parents in a traditional household, but also having to juggle that with being in touch with my American side outside of the household and not really being able to connect. This movie really perfectly blends two cultures together through the relationship portrayed by Soul [Rasheed] and Anderson. Even if there is a cultural barrier, there’s always going to be something you can relate to with your parents. And in this movie, it was the love of music.

I really wish that anyone who needs this message or needs this story, that’s something that they could take away from this.

(Soul Rasheed and Anderson .Paak in ‘K-Pops!’. Photo credit: Jake Giles Netter / Aura Entertainment)

Did you always grow up wanting to be a performer, and was K-pop one of the few avenues you thought you had to take?

Yeah. For me, I come from a musical background. My uncle is an opera singer. My dad plays various instruments. He plays the piano, guitar and he loves singing himself. One of my earliest memories was just singing gospel songs with him at home in the living room. That then inspired me to become the praise leader at my local church in the Bay Area and being in the school choir. Singing in front of audiences, that’s something I really found a passion for. But because I didn’t see myself in American media, there’s no way I could pursue what I want to do out here.

At the time, my mom was watching a lot of K-dramas on VHS tapes. Sometimes, they’d have tape left over from Korean music shows like Music Bank and Inkigayo. This was during the first generation of K-pop, when acts like BoA was around, g.o.d., Shinhwa, Rain…just to list a few of my favourite K-pop idols back then. That was when I really got obsessed with it.

YouTube wasn’t around back then, so I had to go to the Korean CD stores and buy the physical CDs and cassette tapes. I feel old talking about this right now (laughs) but, yeah, that was just my joy in life.

After school, I would run home and watch those DVDs and tapes and just really picture myself being one of them on stage. So I begged my mom to audition for all the major agencies like JYP and SM. There were a few auditions being held in San Francisco and LA, so I went to those. And then I went to Korea that year to audition. The rest is history.

You were in K-pop at a time when there weren’t that many Americans or Canadians in the industry. But now it has changed a lot. What’s it like seeing the cultural shift in K-pop?

Nowadays, it’s mandatory to have a foreign member in a group, whether they’re American, Canadian or Japanese or another culture. But back then, it was really rare to have an English speaking member in the group. You had Jessica and Tiffany from Girls Generation, Jay Park or Amber from f(x). A lot of Koreans didn’t know the struggles we went through as a foreigner in Korea. They didn’t really understand us on a deeper level. So there was no other choice but to have a really strong bond between all of us second generation English speaking idols. There was really no one else to turn to. We’re still close to this day.

How difficult was it to step away from U-KISS in 2017?

It was one of the hardest decisions of my life. You know, I was debating and contemplating for a long time. I really felt like a strong bond with the members. It’s like family. We just knew everything about each other because we’ve been training since we were kids and achieved so much together.

I was in the group for 10 years, and I was one of the original members. There were a lot of changes throughout the years. But as an OG member, I felt like I’ve done my duty. And coming from America, I’ve always envisioned myself going back to the States and pursuing arts, whether it was music or acting. I’ve always wanted to expand my horizons.

It was definitely a hard choice, and I had a heavy heart leaving the group. But getting a lot of support from my members really helped me transition smoothly out of the group and pursue my next chapter.

Did it feel like starting all over again when you moved back to the U.S.?

I was starting from square one, honestly. You don’t get any special treatment because you’re a K-pop star. No one really cares. They really care about your skill set. Especially as an Asian American, there’s more layers to us and less opportunities than the average American. I felt like I was really fighting for every opportunity that came my way and really proving my experience as an artist.

I know your trainee days were difficult. But in some ways did that help build that resilience to start over?

Oh, spot on. The resilience I have today all comes from the work ethic I’ve built in K-pop. Because I had to prove myself and fight for everything, that’s really my driving force when it comes to auditions and putting music out. It gives me so much more purpose in my life.

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What roles would you like to try one day?

I was kind of the antagonist in K-Pops! so I kind of love this era for me. It’s definitely a side of me that fans have never really got to see. I would love to do romantic comedies and maybe some action. Also, a musical film.

What do you hope audiences can take away from K-Pops!

For the Asian community, I hope that their voices can be heard through this movie. It’s okay not to fit in a box. It’s an all-Asian cast and that in itself is so powerful. I hope we can uplift the community.

K-Pops! is out now in select theatres. Follow Kevin Woo on Instagram!

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

(Photo credit: Richard Hama)

Back in 2023, I saw The Rose take the stage at Lollapalooza. It was one of the band’s biggest performances to date, but also marked a full circle moment for them. After all, it came right exactly at The Rose’s sixth anniversary together, since their debut on August 3, 2017.

“For us to celebrate six years of The Rose with I don’t know how many people, it was very meaningful,” Woosung, the band’s leader, told me weeks later.

“It showed how far The Rose brand and The Rose’s music has come. We’re just happy to be on the journey with our fans.”

The Rose has humble beginnings as a group. Unlike many Korean groups formed by entertainment companies, members Woosung (Sammy), Dojoon (Leo), Hajoon (Dylan) and Taegyeom (Jeff) found each other. They started off as buskers in the Hongdae neighbourhood of Seoul. Now nearly eight years later they’ve toured around the world, playing festivals including Coachella and BST Hyde Park.

Now The Rose’s story takes centre stage in a new documentary called The Rose: Come Back to Me. The film chronicles the band’s underdog beginnings, friendship and growth in recent years. But it also delves a bit deeper into the challenges the band has faced together, from lawsuit challenges with a former label, internal conflicts and struggles with mental health.

Below is my conversation with the film’s director Eugene Yi and producer Diane Quon. (For consistency, we used The Rose’s English names when referencing the members during our conversation.)

Interview has been condensed for length and clarity.

What drew you to The Rose and their story?

Diane Quon: I was having a meeting with our executive producer Janet Yang about different ideas and she told me about how she just heard of this band called The Rose. James Roh, who is one of the founders of Transparent Arts, had just signed them.

Their background is [The Rose] used to be in the K-pop system, but they all dropped that to pursue music their own way. I’m just kind of a sucker for following your heart and doing it your own way. And when I heard that, it just made me interested in at least meeting with the band to see if they might be interested in doing a documentary. Plus, I wanted to hear the rest of the story.

And when they I met with them, I really saw how willing they were to be vulnerable and to share other parts of their story, including everything from mental health to their experience when they were in a K-pop system.

Eugene Yi: When Diane described the project, I also was not really familiar with The Rose, but I have just always been fascinated by Korean rock music. I grew up in LA, there’s K-pop all around. But every time I hear a rock song, it would just really resonate with me because, one I like rock music, but also it just makes me wonder why there wasn’t more of it.

So to hear about The Rose, I was immediately curious. And then to read about them and learn more about them, I mean they have such an extraordinary story. Like, a real underdog against all odds—from being in the K-pop system, coming out of lawsuits to the military and COVID-19 even. And yet, they were able to stay together, to have core faith in each other and their music.

(Photo credit: Richard Hama)

What was it about their style—music and approach to life— that resonated with you?

Eugene: Their music is great, and it’s just fun to me. As a rock band they pull from many different influences, whether it’s a ballad, pop-punk to EDM. All four of them are really involved.

In terms of their approach to life, I think it’s really their independence and the fact that they’re outside of the [K-pop] system that underscores the freedom they have to make the music they want to make, and the [ability] to talk about what they want to talk about, to be as open as they want to be.

One of the things I find unique about The Rose is the band really straddles between the west and east. Sammy is Korean-American. Leo spent some time in New Zealand, but grew up primarily in South Korea. Jeff and Dylan spent their whole lives in Korea. How have they used that to their advantage to connect with people?

Eugene: I think it also connects to a little bit of what Jeff talked about in the film, in terms of just how K-pop really has created this path for them.

Their first single [“Sorry”] came out right around the time when YouTube algorithms were a major way that people were discovering new music. None of that would be possible without K-pop’s international appeal, of course, but the fact that they’re a rock band, I think, has special salience outside of Korea.

As Jeff mentioned, rock isn’t necessarily a super popular genre in Korea. It’s not the most mainstream genre, but in other countries, it is more popular. So it sort of makes sense that international part of their journey is how they got to where they are today.

Diane: I think the lyrics is also a big reason for why they are so global. When people realize what the words are and the meaning behind them, I think it just resonates so much with folks. I think a lot of bands talk about healing, but there’s something about The Rose that comes from a personal place. No matter what country, it’s a universal message that people seem to relate to.

This documentary doesn’t hide The Rose’s challenging moments, including their experiences in the K-pop system, their lawsuit with their former company, Jeff’s mental health struggles to Sammy getting caught by police for using marijuana. Was that challenging to dig into?

Diane: They were always very open about talking about all those things. Some of it was never where we pushed them or even asked them about. It was often things they would share when they were just talking.

It goes back to how impressed I was by their willingness to be vulnerable. [That] if they’re going to do a documentary, not to make it a puff piece or a promo piece.

One of the most poignant moments of the film is actually when Jeff talks about his time in the military, going through depression and seeking counselling. Why was it so important for him to share that?

Eugene: I think for him to be as candid as he was, reflects his own sort of comfort sharing that story. It’s such a huge part of what’s important to him in terms of the platform he has, the music he makes, what the song “See-Saw” meant. We knew early on that “See-Saw” was going to be in the film because it connects to that theme of healing through music so intimately.

Diane: I think that’s really one of the major reasons why I wanted to make this film. I realized that mental health, that there is a problem not just in Asia, but worldwide.

I think about so many people struggling, especially with social media, and it feels like there’s so much more isolation. And I was thinking that if these young men are willing to talk about it, then I want to make a film that hopefully reaches young people or people of all ages.

It meant a lot to me to make a film that features Asian young men saying it’s okay to talk about your feelings.

(Photo credit: Jaehyeong Lee)

One of the things that also surprised me in the film, was that The Rose talked about how their previous label tried to separate them as a group. And yet, they still chose each other every time. What does that say about their bond?

Diane: It’s a reminder to me that sometimes it’s hard. Whatever relationship, in this case the band, other times it’s family or work. But if you have a passion, or if you have a goal that you’re all agreed on, it’s amazing how you can make it work.

We have been really impressed with how much they believe in the band and their music. They always say, it’s not because we’re great musicians, or we’re any better than anyone else. It’s really they’re just so proud of the music itself, that’s the thing that keeps them together.

Another link you make in the film is The Rose’s connection with another Asian-American trailblazer, Far East Movement. Members of that group now run Transparent Arts, which have signed The Rose. What was it like to have access to both generations of artists?

Eugene: They were the management that helped make this film happen in so many ways.

As an Asian-American, the idea of any kind of intergenerational connection is so precious, so often because of culture, language. So much gets lost between generations. And so to see an example of that within an Asian-American creative context, we all just responded. Who knew that it would involve Far East Movement as well?

It just felt like such an important theme to the film, and the parallels there too. You know, the world might not have been ready for Asian American rappers then, but there’s plenty of K-pop rappers now that everyone just kind of accepts. With The Rose, are people used to seeing a rock band like that?

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

Diane: I hope that people come away knowing that they have to do what feels right for them and to follow their heart. I think the other thing that we hadn’t touched on is just the idea that they are wonderful musicians. I hope that when people come to the film, I hope they don’t put Korean music in one box. Often [The Rose] is put in the K-pop box, but I hope that people expand and think, “Wait, it’s just great music!”

Click here for more info on “The Rose: Come Back to Me.” Or visit, therosedoc.com

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

(Photo credit: Mauve Company)

Love is a complex feeling. At times, it’s exciting, intense and passionate. Other times, it can be fleeting, heartbreaking and confusing.

It’s exactly why Vancouver-born singer-songwriter JUNNY gravitates to writing about the emotion in his music. His 2022 debut album [blanc] explored coming of age in his 20s, with themes around relationships and breakups.

His 2024 EP dopamine delved into the rush of simmering romance. While his latest album [null]—released in August 2025—explores the ups and downs of a relationship from beginning, middle to end.

“Love is extreme. It makes you your best and worst version at the same time. When you’re in it, everything feels cinematic. When it ends, everything feels distorted,” JUNNY tells bunni pop in an interview.

“That emotional contrast is addictive as a writer. I’m always chasing honesty, even if it makes me look vulnerable—especially if it does.”

In February, JUNNY is heading back on the road as part of his North American [null] tour, which will see him make stops in Montreal, Toronto, Calgary and his hometown of Vancouver.

Below, he shares a bit more about his songwriting process, his musical inspirations and shares his advice to aspiring singer-songwriters.

Interview has been edited and condensed for clarity.

Hi JUNNY, you’re about to head back on the road on tour. These are rare moments to return to your home country of Canada. What do you miss most about your hometown Vancouver?

I miss how quiet it is.

Vancouver isn’t loud in the way Seoul is. It’s grey, it rains, it feels slow, but that slowness is grounding. I miss driving by the water, the mountains just sitting there like they’ve seen everything. It’s the only place that still feels like I’m not “on.” I can just be [Kim] Hyeongjun there.

And what is the thing you’re most looking forward to doing once back in Canada?

Honestly, just eating and seeing my family. Nothing glamorous.

I want food [from home], I want to see my friends I grew up with, the people who knew me before music. There’s something about being around people who don’t care about what you’ve done. They just care if you’re okay. That reset is important before going back on tour.

Your latest album [null] is one of your most experimental projects yet. What was the story and journey you were exploring while making this album?

[null] is about emotional reset. It starts almost like a dream. Soft, hopeful, romantic. And then it slowly unravels. It goes through infatuation, dependency, tension, silence, and eventually collapse.

I was exploring what happens when love becomes something you can’t hold onto anymore. [Null] felt like the right word because it’s not just empty. It’s the space after something disappears. It’s that quiet after the impact.

Can you tell me a bit about the production of this album, because some of the tracks like “No Morning” are quite minimal and quiet. While other songs like “Passion, Pain, Pleasure” are louder and intense in feeling. How did these two tracks capture what you were trying to convey?

“No Morning” feels like the epilogue. It’s what’s left after everything already happened. It’s quiet, stripped back, almost weightless. There’s no fight left in it. Just acceptance. I wanted it minimal so it feels like you’re sitting alone with the aftermath. It’s the emotional residue of the relationship.

“Passion, Pain, Pleasure” is like rewinding the tape. It takes you back to the very beginning, when everything was intense and magnetic. The chemistry, the obsession, the fire. Sonically, it had to feel bigger and overwhelming because that’s how it starts. Loud, consuming, almost reckless.

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What were some of the artists and songs you were listening to while you were creating this project?

A lot of R&B, old and new—Frank Ocean, Dijon, Daniel Caesar. Some alternative stuff too. I was listening more for texture than structure.

I wasn’t trying to copy anything, but I was studying feeling, how minimal production can still feel massive emotionally.

Colde and Seori feature as artists in this project. What was it like to work with them?

They’re both very intentional artists. Colde has this calm precision. He doesn’t waste notes. Seori brings this emotional fragility that feels cinematic. With both of them, it wasn’t forced. It felt like we were building atmosphere more than just making songs. That’s when collaboration feels right.

You have written for some of the biggest artists in the K-pop industry, including IU, Kai and NCT. How have these experiences shaped the way you approach music-making these days?

It taught me discipline. When you’re writing for artists at that level, you have to respect identity. You can’t just write what you would say. You have to step into someone else’s world.

It sharpened my instincts. Now when I make my own music, I’m more intentional. I know when to edit. I know when to leave space.

(Photo credit: Mauve Company)

There was a time when not many Asian Canadians could be seen in the music industry. Do you think that’s changing?

Yeah, definitely. Growing up, it wasn’t common to see someone who looked like me in Western pop spaces. Now it’s expanding. It’s not perfect, but it’s moving.

I think the biggest change is that we’re not being boxed into one lane anymore. We don’t have to represent Asian music. We can just represent ourselves.

Many of your early songs got discovered on Soundcloud and social media. Do you see the role of social media as beneficial? Or is it a bit of a double-edged sword these days with the pressure to go viral?

Both. It gave me a career. SoundCloud and YouTube are how people found me, so I’ll never ignore that. But now there’s pressure to perform constantly. To go viral. To be visible. That part can distract from actually creating.

I try to treat it like a tool, not an identity.

What is your advice to aspiring songwriters and artists in Canada right now?

Don’t wait for permission. You don’t need to move cities or know the right people to start. Just make the music. Release it. Improve publicly.

Be patient. Real growth isn’t viral. It’s consistent.

JUNNY plays in Toronto on February 17 at Phoenix Concert Theatre. Buy tickets here!

Follow JUNNY on Instagram!

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

(Photo credit: AFP)

K-pop made history at the Grammy Awards on Sunday. “Golden”, the hit song from the KPop Demon Hunters soundtrack, took home a trophy for Best Song Written for Visual Media.

Still, a debate emerged throughout the night amongst K-pop fans. Can “Golden” be considered a real K-pop song?

Unlike groups with loyal fandoms like BTS and Blackpink, “Golden” is sung by a fictional animated girl group called HUNTR/X with almost entirely English lyrics. And while EJAE, Audrey Nuna and Rei Ami have performed the song live, many fans still view “Golden” as detached from K-pop as a whole because they are not a real idol group. Rather, “Golden” and HUNTR/X borrow heavily from K-pop aesthetics and storytelling.

I’d argue that “Golden” is still K-pop, as it is produced and written by K-pop songwriters and producers. EJAE has an already impressive roster writing hits for the likes of Red Velvet, aespa and Twice. While The Black Label, which co-produced the KPop Demon Hunters soundtrack, is behind acts like MEOVV, Allday Project and Blackpink’s ROSÉ. Teddy Park, the founder of The Black Label, is also the first K-pop CEO to win a Grammy Award.

Still, I can see why many are debating over what qualifies as “K-pop” anymore. That’s because the genre has increasingly become harder to define in recent years.

If we go back to the 1990s, K-pop as a genre has always been influenced by the west, when H.O.T. (largely considered the first modern K-pop idol group formed under the trainee system) came onto the scene.

Genres like R&B, dance pop and hip hop have long formed the makings of K-pop songs inspired by groups like Boyz II Men and TLC. But what made K-pop distinct was its ability to mishmash genres all while catering to an audience back in Korea, featuring primarily Korean lyrics.

In recent years, that has changed as global audiences started to embrace K-pop music. There’s been a shift away from Korean lyrics, with many idol groups releasing all-English songs.

“Dynamite”, which made BTS the first Korean pop act to be nominated for a Grammy in 2021, did not have any Korean lyrics at all. Now in 2026, it would be unusual for any K-pop act NOT to release an all-English song. Of course, the business case in doing so is to increase the marketability of K-pop for global audiences. But at the same time, it’s also alienating audiences back home in South Korea.

According to The Korea Times, K-pop’s presence in the domestic market appears to be weakening, with some observers stopping short of calling it a “crisis.” Album sales have dropped at home, while exports of physical albums have also slowed in major markets. Experts who spoke to the Times also believe the K-pop industry’s rapid expansion has made it less flexible and less dynamic.

Even K-pop songs are largely written by those outside of Korea, with producers and writers like Dem Jointz and Jenna Andrews penning many K-pop hits. Several of the tracks sung by hit groups like NCT and Red Velvet often start from songwriting camps that bring artists from around the world to create music. In fact, NewJeans’ critically acclaimed EP Get Up was primarily written by Danish singer-songwriter Erika de Casier. It’s this global collaboration within K-pop that makes its sound more challenging to define.

Given the fast-paced evolution of K-pop in recent years, I don’t entirely blame people’s confusion with the genre if they’re just diving in. And with people questioning whether it’s time to give an award for “Best K-pop Album of the Year” at the Grammys…how does one define it? Many songs are primarily in English already. Many writers and producers also come from outside of Korea.

No matter the result, the 68th Grammy Awards was already going to be a historic year in K-pop with acts like ROSÉ, the singers behind KPop Demon Hunters and KATSEYE (a global girl group inspired by K-pop) landing nominations in major categories.

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The Grammys is by no means a perfect organization, and could do way better when it comes to diversity. But last night’s awards show suggested to me that K-pop might have to find a clearer picture of its roots if big western awards is the genre’s and industry’s focus.

By the night’s end, the sole Grammy win for “Golden” was the only award K-pop took home overall.

Don’t get me wrong, I still think it’s a major breakthrough for K-pop. But might chasing validation from the Grammy organization be counterproductive for the K-pop industry as a whole?

See me elsewhere

In the spirit of awards season, I will continue to talk about the Canadian success story that is KPop Demon Hunters!

From Domee Shi to Maggie Kang, Oakville, Ont.’s Sheridan College has history of producing award-winning animators. Now the two directors are each nominated for Oscars. I visited campus to hear from animation students about their own dreams in filmmaking.

Read the story here.

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

(Photo credit: Singing Beetle)

When 1VERSE debuted in July 2025, they made headlines around the world—becoming the first K-pop band to feature two North Korean defectors.

“When I came to South Korea, I was not really into K-pop. I was more into ballads,” says Seok, who was born in Ryanggang Province in North Korea, in an interview with bunni pop through an interpreter.

“It was only when I joined [my company] Singing Beetle that I started to learn what K-pop is, and what I would need to do to become a K-pop star.”

Seok along with member Hyuk are both 25 and from North Korea. As teenagers, they defected from their home country and eventually landed in South Korea. Between 2021 and 2022, both were recruited by the boutique K-pop label Singing Beetle to be part of a group.

Now alongside their members Aito, Nathan and Kenny, 1VERSE (pronounced like “universe”), is set to tour across North America this January and February on tour. Their sole Canadian tour stop will be at Montreal’s Club Soda on February 27.

“Now that we’re going on tour, I think I’ll be able to see people in person because [interacting with fans] was all digital before,” Seok says about performing in North America.

“I would love to feel comfortable and close to our fans, enough to shake hands and give each other a hug.”

(Photo credit: Singing Beetle)

What makes 1VERSE unique as a K-pop group is that every member can be described as a bit of an outsider to South Korean society.

While Hyuk and Seok both had to adjust to life outside of North Korea, their members also come from different places. Aito, 20, hails from Chiba, Japan and worked as a dance teacher before moving to South Korea to train as an idol. Meanwhile, members Kenny and Nathan both come from the United States. Kenny is of Chinese descent and was raised in Orange County, California. Nathan is Laotian and Thai, and grew up in Bentonville, Arkansas.

1VERSE is the brainchild of Singing Beetle CEO Michelle Cho, who formed the company in 2019 after working at SM Entertainment in Artists and Repertoire. At SM, Cho worked with artists including EXO and SHINee. But over time, she also saw the challenges aspiring artists faced to achieve their dreams of performing, with many leaving music entirely because they could not sustain a livelihood from it.

(Photo credit: Singing Beetle)

In a separate interview, Cho says Singing Beetle was formed with the goal of making K-pop “more inclusive.”

“I wanted to contribute in helping create a bridge for up and coming writers to have access to the market, and also create more opportunities for people to connect and work together.”

According to Cho, Hyuk was the first member to be recruited into the group. Despite having no musical background or education, she saw the raw talent immediately after he submitted a few rap verses he wrote to her.

“I could hear that the elements a song needed to have was all there,” she says of her early impressions of Hyuk. “So I was like, ‘Ok, if the guy can do this, he’s obviously talented. It’s just a matter of developing that potential.”

As of reporting, Hyuk is currently on hiatus for personal and health reasons and did not participate in an interview with bunni pop.

Seok, who grew up near the Chinese border in North Korea, had a little bit more exposure to South Korean culture as music and K-dramas would sometimes be smuggled through the North Korean border via SD cards and USBs.

Still, music was not something he considered doing growing up. In North Korea, Seok was a competitive soccer player until he defected in 2019 alongside his father and grandmother.

It was only after defecting to the south that Seok started considering music, turning to ballads as a source of comfort and encouragement. “I wanted to do something similar. I wanted to be a comfort to people as a singer and performer,” he says.

Upon seeing Seok during an audition, Cho knew she found someone special. “I loved him right away, like the voice as well as the attitude he had towards things. It was really great.”

Following a round of auditions, Aito, Kenny and Nathan rounded up the lineup that now makes up 1VERSE.

Aito, who grew up in Japan as a dancer, first fell in love with groups like Super Junior, inspiring him to move to Korea and pursue a career as an idol. Before joining Singing Beetle, Aito was a K-pop trainee at another label, but ultimately failed to debut in a group under that company.

“I’ve experienced some of my own failures during that time, but I think I was able to still hold on to my dream,” Aito says of his journey to finding his way into 1VERSE.

Meanwhile, Kenny grew up performing at events and auditioning at casting calls wherever he could, until someone suggested he try out for a K-pop group. Following his high school graduation, he made the leap and moved to Korea to become a singer.

Nathan, on the other hand, discovered K-pop as a high school freshman through his cousins in Texas. Inspired by groups like EXO, he’d send online auditions for seven years. In 2024, it was Kenny who discovered Nathan’s YouTube channel and sent it over to Singing Beetle for consideration. Things moved quickly soon after. In December of that year, Nathan was announced as the newest member to join 1VERSE.

“It went from sending auditions every year to well, I don’t think it’s gonna happen because I never hear anything back,” Nathan recalls. “Them reaching out, I was like, ‘Wow, I have to take it!’”

Through 1VERSE’s different lived experiences, the group now hopes to connect with their fans—known as 5TARZ—together through their music.

Their latest single, “WABIF (Wide Awake Before I Fall)” digs into the feeling of being lost and lonely. Meanwhile, “Shattered” discusses feeling like the world is collapsing around you, and finding strength to overcome it.

For Seok, “Shattered” represents leaving behind a long-held dream he once had of becoming a national soccer player, and finding a new path to become a singer.

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“It’s a song for people who are kind of lost,” Seok says. “I think it’s such an honour to be able to be presented in front of so many people and I have a lot of gratitude in my heart.”

For Nathan, the song represents his journey coming from a small town.

“The song itself really reflects my experience back home living in Arkansas, having this dream of being an artist. But due to the lack of resources, and just not having the ability to pursue that career, I felt like I was falling apart,” he says.

“Coming out to Korea and finally being able to pursue it, I also was in the mindset of, ‘I can’t go back. This is my end goal and the career I’ve always wanted.’”

Soon, Nathan will finally reach a full circle moment in February, when he and his bandmates travel to his hometown of Bentonville, Ark. to perform two concerts. According to Nathan, it’ll also be the first time a K-pop group will play in the city.

“There’s nothing close to K-pop there!” Nathan laughs. “[My friends and family] are begging to come.”

From escaping to a new country to embracing new cultures, 1VERSE hopes to continue to break down barriers and achieve new goals as a group.

“Whatever stage that we’re on, we [want] to make it memorable,” Kenny says.

Nathan adds, “My goal is just to inspire people to follow their dreams just the way I did, regardless of your background. As long as you have a strong enough passion for it, then you can make it happen.”

Tickets to 1VERSE’s <SHATTERED> Tour are on sale now.

Follow 1VERSE Instagram.

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

While the globalization of K-pop has divided some OG fans who yearn for fewer English lyrics and longer songs (gimme bridges!), there was still much to enjoy in 2025.

Over the past year, I found myself gravitating towards more soloists and different genres (especially J-pop) when it comes to music.

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Artists like DAYOUNG (known for her bubbly and cute personality in WJSN) rebranded herself as a sultry pop diva. While JUSTB, an underdog group who have competed in multiple reality competition shows, switched things up and went into hyperpop mode.

Newer generations of idol groups also delivered standouts for me. Artists like CORTIS, f5ve and NMIXX got lots of attention from me for their experimental sound.

But despite venturing into some new territory, I also found time to listen to veterans like HWASA, Jennie and j-hope.

So without further ado, below are 10 tracks I found myself gravitating towards in 2025.

DAYOUNG - body

Despite its September release, I consider DAYOUNG’s “body” one of the best K-pop songs of the summer. The dance pop track embodies confidence, fearlessness and sensuality—with its accompanying music video perfectly capturing what it feels like to flirt and have fun on a summer’s day.

“It just felt so honest and full of confidence—a completely new side of me I’d been wanting to show,” DAYOUNG told me back in October. “It was a story that truly represented what I do best.”

JUNHEE - Supernova

JUNHEE may be known as the leader of the K-pop group A.C.E. But in 2025, he embarked on a new journey as a soloist.

The 31-year-old made his solo debut on August 14 with the dance-pop track “Supernova”, a song he says is inspired by disco and the European dance music scene.

The track is catchy and infectious, paired with a cinematic music video that sees JUNHEE chasing after a woman that captures his attention.

“I wanted to share a story about a love that feels just out of reach, but draws you in instinctively,” he told me earlier in late August.

JUSTB - CHEST

Following years of hardship and competing on survival competition shows, JUSTB took their story in their own hands in 2025. This new phase is reflected with the release of JUSTB’s new EP, [JUST ODD], which allowed them to be experimental in the studio.

The result is the lead single “CHEST”, which takes inspiration from the electronic and hyperpop sounds of CHARLI XCX and 2hollis. It’s a banger from start to finish.

j-hope - Mona Lisa

Even I was surprised to see j-hope’s “Mona Lisa” landing on my top three most-listened to songs of 2025.

The groovy hip hop track sees the BTS rapper singing about (gasp!) his love for the ladies, signalling a sexier Chapter 2 that the group has been teasing post-military.

I was in the crowd at Barclays Center in New York when j-hope debuted the track in April.

While the lyrics aren’t particularly groundbreaking, the song does showcase what j-hope does best—entertain. Through hip thrusts and the smooth gliding of his feet, the rapper was as suave as ever.

Perhaps it was me wanting to relive the memories of seeing j-hope in concert, but I would be lying if I said I didn’t listen to this song more than a dozen times.

f5ve - Underground

While many idol groups strive for perfection, uniformity and the illusion of flawless performances, Japan’s f5ve isn’t here to stick with conventions. Instead, the quintet—composed of SAYAKA, KAEDE, RURI, MIYUU and RUI—own up to their chaos and out-of-the-box sense of humour. Just take one look at their social media is proof of that. But beyond online presence, f5ve served hyperpop perfection with their album SEQUENCE 01.

Collaborating with producer BloodPop, f5ve blends the cheerful and nostalgic sounds of J-pop with nods to dance and electronic music.

One standout from the project is “Underground”, which takes inspiration from Japan’s parapara dance culture all while tackling themes like societal pressures and finding individuality.

KPop Demon Hunters soundtrack - What it Sounds Like

While “Golden” has rightfully been receiving the praise it deserves, the entirety of the KPop Demon Hunters soundtrack is equally worthy of recognition.

One song that I feel deserves more love is “What it Sounds Like”, the epic anthem that comes during the finale. The track itself took 147 versions to get right, and is a banger worthy of being heard in a stadium.

It’s also a really cathartic karaoke song, and we should all get to experience singing it out loud in a room full of people.

Jennie featuring Dua Lipa - Handlebars

2025 marked the solo eras of Blackpink, and JENNIE dove headfirst into releasing an eclectic pop album called “Ruby.” The big highlight of this project was “Handlebars”, a track she shares with popstar Dua Lipa. The mid-tempo R&B and neosoul-inspired track sees the pair singing about diving head first into love, despite knowing how it’ll hurt in the end.

JENNIE, often seen as a fierce and confident rapper on stage, showcases vulnerability in “Handlebars”, and also lets audiences in to hear what she’s capable of vocally.

NMIXX - High Horse

You can always count on every single member of NMIXX to deliver vocally. Though 2025 allowed the group to really show off a more mature and sophisticated side, with the release of their EP Fe3O4: Forward and studio album Blue Valentine.

While NMIXX delivered several stand-out songs, I am singling out “High Horse” specifically for its hauntingly beautiful instrumental, unique rhythm and breakbeat sound. All of that, paired with NMIXX’s vocals is chef’s kiss.

HWASA - Good Goodbye

The best art often comes from heartbreak, and that’s exactly what pushed HWASA to write “Good Goodbye.” Inspired by the end of a relationship, HWASA explores what it means to wish someone goodbye with warmth and well wishes.

What made the bittersweet track even better was seeing HWASA promote it. At the Blue Dragon Awards, she brought Park Jung Min (who plays her love interest in the music video) on stage with her to carry her red shoes. Suddenly, all the A-list celebrities in the room became fangirls and fanboys. Talk about fan service! Someone, cast them in a real drama together!

CORTIS - FaSHioN

CORTIS represents a new era of boy groups in K-pop, shedding away the tailored suits, flashy makeup and outfits and thematic styling and storytelling. Instead, what makes CORTIS standout is the fact that they’re just teen boys being themselves.

Focusing on creating trap and hip hop songs, CORTIS broke away from the conventional idol formula by producing, writing and choreographing their own songs. “FaSHioN” may not be for old school K-pop lovers, especially those who don’t like autotune and abrasive vocals. Some might even compare it to something Travis Scott would release. But the track is oddly addictive, even if repetitive. It’s also a bit charming to hear a bunch of teens bragging about how good their thrift store fashion sense is.

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

From demon slayers, Grammy nominations to coming out announcements, the year in K-pop was both busy and momentous.

While there have been releases I’ve enjoyed this year, I must admit I found myself paying way more attention to industry trends and the business of K-pop than the music itself.

Still, I couldn’t help but notice K-pop’s presence in mainstream culture in 2025, ushered in by the success of Blackpink’s solo careers and KPop Demon Hunters. But it’s also a good reminder that more complicated issues remain, including long drawn out legal battles between idols and companies.

So without further ado, here are some of the biggest K-pop stories I’ve found myself gravitating towards in 2025.

The reign of KPop Demon Hunters + why it’s a Canadian success story!

Since KPop Demon Hunters released on Netflix in June, it has become the streaming platform’s most successful original film. The movie, which chronicles around a trio of badass K-pop idols who moonlight as demon hunters, was embraced early on by lovers of K-pop and animated films. But three weeks after KPop Demon Hunters dropped on Netflix on June 20, it seemed like everyone and their children could not get enough of the story and its accompanying songs.

The soundtrack for the film spent two weeks at #1 on the Billboard 200 in September and October. “Golden”, which has since been shortlisted for Best Original Song for the 98th Academy Awards, has stayed on the Billboard Hot 100 for at least 25 weeks. The song is also nominated for Song of the Year at the upcoming Grammy Awards.

What’s given KPop Demon Hunters an extra boost here at home is the fact that the film’s creator and co-director Maggie Kang is from Toronto. Trained as an animator at Sheridan College, Kang set out to create a story inspired by her Korean roots. When I spoke to Kang in September, she shared how Toronto helped inspire her storytelling and art. “Toronto is a place that celebrates culture, and it’s just a melting pot of different flavours from around the world.”

But Kang isn’t the only Canadian involved in the film! Ahn Hyo-seop, who voices the role of Jinu, also grew up in Toronto. Jenna Andrews, who co-wrote the songs “Free” and “What it Sounds Like”, is from Calgary.

The film is proof of the power of Asian Canadian storytelling.

LGBTQ+ representation

2025 broke new ground for idols in the K-pop industry and beyond when it comes to coming out announcements. While many strides have been made for queer representation in media, being a member of the LGBTQ+ community is still highly stigmatized in Korean society—let alone many Asian countries.

But back in April, Bain from the group JUSTB stood on stage and made a bold announcement following a performance of Lady Gaga’s queer anthem “Born This Way.” “I’m fucking proud to be part of the LGBTQ community as a gay person!”

Days later, Bain told me he decided to come out with the support of his members and company.

Bain’s coming out followed a similar announcement made by Lara Raj from the global group KATSEYE, who revealed she is queer while chatting with fans on the social media platform Weverse. In May, Raj accepted the Blooming Impact Award by the LA LGBT Center. In June, KATSEYE member Megan also revealed she’s bisexual on Weverse, with Raj by her side.

What’s more, Cocona of the group XG revealed they are transmasculine non-binary on their 20th birthday on December 6. The rapper/singer revealed they received top surgery earlier this year, and found support from their parents, bandmates and XG’s executive producer, Simon Jakops.

The confusion around the Rogers Stadium

@bunnipopletterBang Chan thinks the Rogers Stadium is in “the middle of nowhere.” @Stray Kids #straykids #skz #stays #straykidsdominate #rogersstadium #torontokpop #toronto #torontoconcerts #kpopfyp #chrisbang

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This is technically a Toronto-specific story. But considering that two of the biggest K-pop tours (Stray Kids and Blackpink) stopped in the city’s newest stadium, I’m putting it on the list!

While temporary venues are not a new concept, the Rogers Stadium certainly did not help ease the confusion of music fans in Toronto. Stray Kids fans, known as STAYs, were the guinea pigs for the Rogers Stadium’s opening day on June 29. People complained about the venue’s lack of accessibility, lack of water, long wait times to get onto the subway and rickety bleachers. Even Bang Chan, the leader of Stray Kids, shared his confusion and amusement with Rogers Stadium, describing it as “in the middle of nowhere.”

I’ve said it before, but I liken the Rogers Stadium to a music festival experience. It’s not glamourous, but it gets the job done.

If we want more Canadian K-pop tours to stop by, I absolutely see a need for a venue like the Rogers Stadium. Here’s hoping the next few years can convince the city to create a more permanent venue.

KATSEYE ushers in a new era of girl groups

While KATSEYE is a global girl group modelled after the K-pop system, the six-piece act hit the mainstream in a major way in 2025. On April 30, KATSEYE released the shocking hyperpop track “Gnarly.” Reviews for the highly experimental track were mixed, but soon won praise for the KATSEYE members’ high energy performances. In June, KATSEYE showcased their duality by releasing the Latin-inspired “Gabriela”, which sees the members revealing their best flamenco movies during the song’s dance break.

While KATSEYE has managed to pull out viral hits in 2025, I would argue their popularity stems from the girls’ relatability and honesty (as mentioned above, Lara and Megan both came out as members of the LGBTQ+ community) but also HYBExGEFFEN’s marketing decisions.

KATSEYE were in several promotional campaigns this year, from Jollibee, Pandora and 5 Gum. Perhaps most popular of all is their appearance in a Gap Jeans ad, where the members danced along to Kelis’ “Milkshake.”

What makes KATSEYE particularly notable of course, is the fact that the members all come from different backgrounds ranging from Indian-American, Swiss-Ghanian, Cuban to South Korean. Representation matters, and KATSEYE’s success is proof of that.

Now with two Grammy nominations and a sold out North American tour under their belt, KATSEYE will have an even bigger 2026 ahead with a Coachella performance scheduled.

The future of NewJeans

(Photo credit: HYBE)

At the end of October, South Korean court upheld the validity of NewJeans’ exclusive contracts with ADOR. Shortly after, all members announced their intention to return to the label. Hyein and Haerin were confirmed as the first members to stay. Then this Monday, ADOR also announced Hanni’s return while Minji remains in talks. However, the tables have turned dramatically for Danielle. ADOR is instead terminating her contract and kicking her out of NewJeans.

The move gets messier in a legal battle that has been met with pushback on both sides. ADOR alleges Danielle violated her exclusive contract by signing conflicting agreements. Now the label is seeking up to $42.5 million CAD worth in penalties and fees against Danielle, a member of her family and former ADOR CEO Min Hee-jin.

ADOR also claims Danielle’s relative and Min have been largely responsible in escalating the conflict between NewJeans and ADOR and further halting the band’s activities.

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NewJeans has spent the majority of 2025 fighting ADOR in court, which is a dramatic shift from what was once the most exciting new girl group to jump onto the K-pop scene. Their down-to-earth style, coupled with minimalistic synth beats and Y2K sound brought in a new era to K-pop when NewJeans debuted in 2022. And the momentum only continued into 2023 and 2024.

Now after a messy legal battle with ADOR, and with three members of NewJeans (and one potentially) returning back to the label, it remains to be seen what will become of NewJeans’ future. Min Hee-jin, the woman behind the concept of NewJeans, is no longer directly involved in the band after resigning as ADOR CEO. And with Danielle being an integral part of the image of NewJeans, many fans are unconvinced the band’s music will be the same. Some also believe NewJeans might not even have many comebacks in the future. It’s also unclear how NewJeans will move forward with ADOR in good faith after such a long drawn out legal process.

Other notable stories worth paying attention to

A new it girl emerges

Dayoung, a member of WJSN, released the surprise hit of the summer with “body”, showcasing a more mature and sensual side to her. The single solidified her as one of the most exciting female soloists to hit the K-pop scene in 2025. DAYOUNG scored her first South Korean music show win with “body”, and received nominations at this year’s MAMA Awards (one of South Korea’s most prestigious awards shows) for “Best Dance Performance Female Solo” and “Song of the Year.”

CORTIS makes a splash debut

Just less than 100 days shy of their debut, CORTIS ended up taking this year’s Rookie of the Year award at this year’s MAMA Awards. It’s a pretty amazing feat to achieve, especially during an incredibly oversaturated market of new K-pop boy bands debuting onto the scene.

CORTIS’ debut EP Color Outside the Lines was released in September and became the first debut album from a K-pop act this year to sell more than 1 million copies.

CORTIS has been described as a self-producing group, writing and composing their own songs, but also taking initiative in planning their concepts. Their down-to-earth style and DIY approach to music gives the vibe of teenage boys hanging out. The group is also led by Korean-Canadian Martin, who became instantly recognizable for his spikey bleach blonde hairstyle and 6’3 frame.

CORTIS’ success is proof that it’s time the K-pop industry shakes things up, and lets singers let loose and be creatively involved as artists.

Blackpink’s ROSÉ emerges as a Grammy frontrunner

This year’s Grammy nominations saw a wave of K-pop nominees from KPop Demon Hunters, KATSEYE (they are K-pop adjacent, in my view) and ROSÉ. I’d be remiss not to mention ROSÉ in this week’s post because she had one heck of a year. Her hit song “APT” featuring Bruno Mars spent 12 weeks atop the Billboard Global 200 since it released in November 2024.

Now ROSÉ has received three Grammy awards nominations for Record of the Year, Song of the Year and Best Pop Duo/Group Performance. “APT” makes the most nominated song by a K-pop artist and the first to be nominated in a Big Four category as a lead artist.

P1Harmony takes over a Toronto park after concert gets postponed

After P1Harmony faced a system outage at the Canada-U.S. border, the band did not let a concert postponement prevent them from spending time with their beloved fans. Instead, P1Harmony and their team went back to basics, hosting an impromptu park meet-up in Toronto’s Trinity Bellwoods Park.

Of course, there was no way P1Harmony leader KEEHO would want to let down his hometown fans. “People who called off jobs [and] made a lot of sacrifices to make sure that they come to the show today. We wanted to do a little surprise,” KEEHO mentioned on livestream moments before touching down at Trinity Bellwoods Park.

The group danced with fans, and performed tracks like “EX” and “Duh!”. But most wholesome of all, was seeing P1Harmony fans come out to support the band and root hard for the hometown boy. “We love Canadian representation in K-pop, and for [KEEHO] to show his home to his members,” a fan told me.

I love when K-pop and local news collide!

BTS members discharged from the military. Now the anticipation for 2026 begins!

(Photo credit: rkive/Instagram)

As 2025 comes to a close, the world of BTS ARMY is waiting with bated breath for a comeback and tour announcement. After all, it’s been two long years since the boys have been seen performing together on stage as OT7.

Still, 2025 saw j-hope and Jin embark on solo tours of their own, showcasing their duality, charisma and charms on stage. A well-rounded rapper and dancer, j-hope paid homage to his street dance roots during his “Hope on the Stage” tour. While Jin, went against K-pop concert conventions and instead hosted a gameshow/hangout with fans on tour.

For months, the BTS members have provided small glimpses of their preparations for a big comeback in 2026, offering teases through Weverse livestreams and behind-the-scenes photos in the rehearsal room.

I have no doubt concert ticketing will be absolutely competitive and brutal for fans. But according to reports, the world tour is set to be BTS’ biggest yet.

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

(Photo credit: Netflix/Rachel Simpson)

KPop Demon Hunters just keeps going up up up…and the breakout stars of the year happen to be two fictional bands known as HUNTR/X and the Saja Boys.

With five Grammy nominations and three Golden Globe nods, the animated film created by Toronto’s Maggie Kang continues to dominate our television screens and the music charts.

Since KPop Demon Hunters released on Netflix in June, it has become the streaming platform’s most successful original film. Though the project continues to break even bigger records musically. The soundtrack for the film spent two weeks at #1 on the Billboard 200 in September and October. “Golden”, which has since been shortlisted for Best Original Song for the 98th Academy Awards, has stayed on the Billboard Hot 100 for at least 25 weeks.

Two of the songwriters responsible for making the critically-acclaimed hits featured on KPop Demon Hunters’ soundtrack is Jenna Andrews (who hails from Calgary!) and Stephen Kirk. The pair co-wrote “Free” and “What it Sounds Like”—two tracks that come at critical points in the film.

“Free” is an emotional ballad that sees protagonist and HUNTR/X front woman Rumi singing a duet with Jinu, the conflicted leader of Saja Boys, about their deepest secrets. Meanwhile, “What it Sounds Like” serves as the epic finale of the film.

Partners in life and making music, Andrews and Kirk have also co-written tracks for the likes of BTS, Nelly Furtado, Mickey Guyton and Rita Ora. Below, Andrews and Kirk chat with bunni pop about the process of writing songs for KPop Demon Hunters and reflect on the film’s lasting impact.

Conversation has been edited and condensed for clarity.

This movie continues to just go higher and higher, and now has five Grammy nominations. How have you both been reflecting on the experience?

Jenna Andrews: It’s just such a blessing. Honestly, it’s just been such a cool ride for us this year, and just so amazing to be a part of.

How were you approached to take part in the film and write music for it?

Andrews: Spring Aspers, who’s the head of film at Sony Pictures actually hit us up around two years ago, and essentially they were still in the very beginning of the animation. I know they really wanted to find people that were already really working a lot in K-pop and have that authenticity attached to the film with the music. Obviously, we were so excited to be a part of it. That’s really how it started. It’s been over a two year process.

Did either of you have much knowledge of what the story was going to be when they approached you?

Stephen Kirk: We didn’t have any idea about the story or the characters when we were approached. But I think throughout the process, we didn’t know a lot, but we started to understand the baseline of the story which helped a lot.

We would have a hand drawn sketch of what was to be in the scene. And then we got…an explanation of what the characters were feeling or needing in the scene. Ian Eisendrath (music supervisor for KPop Demon Hunters) really helped us shape the songs and turn them into what they are.

(Photo credit: Netflix)

Both of the songs you wrote for this film come at critical points of the story. I want to begin with “Free.” What was the process like creating that ballad?

Andrews: I mean, honestly, “Free” was one of the first songs that they worked on for the movie, which was really cool.

And again, we had a brief, so we kind of understood what the scene was trying to be. They give you references of songs they wanted it to sound like. That song actually came the easiest. When we did that song and we sent it in, they loved it immediately.

“What it Sounds Like” came after, but I‘m not sure you saw…that [song] definitely [took] 147 versions.

What songs were used as inspiration to write “Free” ? Many of my friends thought of Disney while listening to it.

Kirk: Melodically, definitely. Musically, there wasn’t much inspiration. When we saw the colour palette of what the scene was going to be, it kind of just gave me a sound for what I wanted the track to sound like.

Melodically, when it goes to the post-chorus, it definitely feels more Disney because Disney songs really have a magic to them. They make you feel like you’re levitating. Throughout the song, it constantly kind of builds into that. And then every time the post-chorus comes, it just adds another element of like, etherealness.

Moving to “What it Sounds Like,” I cannot tell you how loud everyone screamed the moment that song started playing inside the theatre when I watched a screening of the film. Jenna mentioned it took 147 versions. What did it take to nail it?

Kirk: Yeah, I don’t think we’ve told anybody this, but we were tasked with writing the song that became “Golden”, and we were in the middle of that and going back and forth on revisions for that. And then we got a call that was like, “Hey, we need you to hop off this song and start the finale now. It’s gonna be pretty labour intensive.”

When we were working on it, we had no idea, but the scene kept changing. The animation kept changing, and then the ending kept changing. Then there was so much time added, and then time taken away, and then time added with so many revisions.

I mean, that was like a proper two year process for that song. It was probably the most challenging thing that I’ve been a part of musically, just because of how perfect it needs to be for a moment like that. Every time the movie would change, the song has to change. So we really struggled with that one, but not in a bad way. It was just a really hard earned victory for us.

(Photo credit: Netflix)

This really comes at the climax of the film. How did you nail the epic-ness of it?

Kirk: I was in a rock band for a long time with my brother. So when [HUNTR/X] were on stage interacting with the crowd, I knew what the scene was going to be. Personally, I wanted big guitars. I wanted massive drums to make it feel like you were in an arena. The song sounds exciting and big, because it’s a blend between what a pop song would be, but then what you would hear at a rock concert in an arena.

For the movie’s sake, we put strings in it because it gives it a cinematic feel. So there’s just a lot of elements that pull on human emotions and heartstrings in the music to lift the song to where it is.

What was it like to see the final product on screen?

Andrews: Oh my god, it was so cool! It’s emotional. It’s amazing. It’s just beautiful.

Kirk: It was definitely rewarding. Being able to see the movie and see the vision of the animators and the directors and the writers and the producers alongside the music was just such a blessing. It was just so fire.

Andrews: We got to see the sketches along the way. I think being able to see the actual movie after it had been built up little by little, it’s just so cool to see it come all the way to life.

Both of you are involved in all types of music, including K-pop. But this film really catapulted the genre in ways we haven’t seen before. What do you think KPop Demon Hunters does for the genre?

Kirk: It’s just a global genre anyway, but I think little kids can access K-pop now without having to find a favourite band yet—unless your favourite band is HUNTR/X or Saja Boys!

People hate the most popular things in the world who are like, “Oh, I won’t listen to BTS, or I won’t listen to KATSEYE, or I won’t listen to Blackpink” because it’s the popular thing to do. But I think this movie kind of took the world by storm because it played at different emotions like self-acceptance, and it really spoke to the heart.

I think parents and kids and grandparents and young adults all really felt like they could identify with this movie, which is based around K-pop.

We’re just really happy to be part of the culture and the genre.

You were both involved in composing “Butter” by BTS, which was recognized with a Grammy nomination in 2022. Can you tell me what that experience was like?

Andrews: Oh my gosh! It was so cool because they were coming off of “Dynamite”, which was their first real English song. It was so cool to be able to be [involved] with “Butter” and “Permission to Dance” following that. I think it really did define BTS in the United States specifically because they’d already been so massive globally. That was such a cool thing to be a part of, honestly!

Jenna, you grew up in Calgary. Was making big hits the path you imagined for yourself? I think a lot of people often think of Canada as a small country.

Andrews: I know they really do! It’s crazy…specifically Calgary.

I’ve always been a big dreamer. I think for me, I started out being an artist. As a kid, that’s what I thought my path would be. Becoming more behind-the-scenes in writing for other artists and being part of projects like this was definitely not something I thought of as a kid.

I think it’s opening up the world now for kids to think of [songwriting] as a career choice. I just think naturally as a kid, especially when I was growing up, if you want to do music or you sang, the artist path made sense. But now, there’s a lot more people that hit us up and know about the work we’ve done behind-the-scenes which is really cool.

(Photo credit: Rachel Simpson)

You’re not only songwriting partners. But also partners in life. What’s the balance between musical and romantic compatibility?

Kirk: Everything that she believes in, everything she loves, Jen is an amazing, amazing, amazing woman in so many different ways. But with all of those amazing characteristics comes a woman who has struggled and fought to be where she is and has sharpened her. When she steps into the studio, she is like a heavyweight boxer in a ring.

We don’t make songs just for the money or the recognition. We do it for the love of it. When you’re in the studio, there are times when it’s like 15 minutes in, everything’s perfect and easy. Then there are times where we’re struggling four or five hours on a line. There’s going to be tense moments.

It’s not about us, and how we’re feeling. It’s about trying to get to a common goal. The only real arguments that we have are always around music. It’s hilarious.

Andrews: It’s funny because when we first met on Zoom, even the creative process, it was just so inspiring to meet Stephen. He [has] just a different type of creative energy and talent. It was something that I was like, “Oh my gosh. This feels magical.” It started that way. We were creative partners for over a year before we even dated. That says a lot about our relationship as well, like where our souls are. I just think our synergetic energies are so connected, you know?

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Going back to KPop Demon Hunters, what legacy do you think a film like this leaves behind?

Kirk: I think first of all, being nominated for a Grammy is just a blessing. But I think the real gift from this movie is that my sister and her daughter Penelope—when they talk to me about the songs—they both have different interpretations of what self-acceptance is because they’re at different places in their life.

This movie is based around accepting yourself for who you are, flaws and all. It’s understanding that you can’t be your ultimate truest form of self without embracing what makes you that.

I think this movie is really entertaining for a lot of reasons, but the message behind it is so powerful that I do believe that people will continue to watch it and continue to love it.

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

(Photo credit: katseyeworld/Instagram)

“I have been so in touch with my girlhood since KATSEYE.”

That’s what I heard as I settled into my seat at the Great Canadian Casino Resort Toronto on Tuesday, as KATSEYE were set to play a show in front of a sold out 5,000 seat theatre.

I couldn’t agree with the statement more. As I looked around, moms and daughters took their seats decked out in matching jerseys and KATSEYE T-shirts. Young women and their besties wore red dresses inspired by KATSEYE’s “Gabriela” music video. And couples around me dressed in matching Canadian tuxedos, in line with KATSEYE’s viral Gap Jeans ad from this past summer.

As a kid of the ‘90s, I remember the sheer excitement I felt over the girl group Spice Girls, who took over the world with their spunk, sass and catchy songs. While girl groups like Fifth Harmony and Little Mix filled a need in my pop girl group-loving heart in the 2010s, it’s been too long since another girl group has dominated the western music scene.

These days though, KATSEYE is filling the void. And given the enthusiasm around me, I think others would say the same.

(Photo credit: katseyeworld/Instagram)

Since KATSEYE announced their tour in early July, tickets to their shows sold out quickly, with seats reselling upwards to $500 to $1500 CAD. It’s not hard to see why demand has been so hot for KATSEYE.

Readers of this newsletter will be familiar with KATSEYE, who I have followed since the group’s formation through the HYBE and Geffen Records reality competition series The Debut: Dream Academy back in 2023. They’re a global girl group, formed under the K-pop trainee system. But while this system has given the KATSEYE members the tools to deliver tight choreography, serve looks and carry tough notes, the selling point of this group has always been their ability to tell their story and celebrate diversity.

2025 has been a breakout year for KATSEYE, from viral songs to iconic brand endorsements. Now they have two Grammy nominations under their belt: Best New Artist and Best Pop Group/Duo Performance.

“I think KATSEYE might be this generation’s Spice Girls,” a friend messaged me on Instagram.

(Photo credit: katseyeworld/Instagram)

From Destiny’s Child to Little Mix, girl groups are not just vehicles for pop music. They’re cultural mirrors. They represent women’s thoughts and feelings, but also serve as a symbol of unity, diversity and cultural pride.

KATSEYE represents a generation of women unafraid to be themselves. They swear, they’re silly and celebrate individuality. These six young women (Sophia, Manon, Lara, Daniela, Megan and Yoonchae) hail from different backgrounds, with roots from South Korea, Philippines, Switzerland and the United States (Lara is Indian-American, Daniela is Cuban-American and Megan has Singaporean and Swedish roots). Lara and Megan also came out as members of the LGBTQ+ community earlier this year, a rarity in the K-pop idol space they were formed under. The group even markets itself like the pop bands of the past, with viral ads with Gap and performances and fan signings at malls.

As a group, KATSEYE also caters well to their wide base, ranging from tween, teen to women in their 20s and 30s. They poke fun at meme culture (“Eat zucchini!” they chant in a new unreleased song called “Internet Girl”) and sing about the ups and downs of girlhood and growing up in tracks like “Mean Girls” and “My Way.”

(Photo credit: katseyeworld/Instagram)

But while KATSEYE has found tons of momentum in the last year, the group still has me wondering about what their musical growth and maturity looks like down the road.

No one denies their live performances are brilliant. Yet a common critique lingers: the music is good, but not GREAT. Some have criticized the group’s songs as not feeling genuine, but more of a trend or a vibe. With songs like “Gnarly” and “Internet Girl”, fans have also described their lyrics (eat a zucchini and Hottie, hottie, like a bag of Takis) as “deeply unserious” and “cringe.”

Vocally, many fans have shared a desire to hear more of Lara and Sophia’s wide vocal range, particularly in ballads and R&B songs. (Luckily for fans who did attend KATSEYE’s Toronto concert, Lara stunned with her vocal riffs and ad libs during tracks like “My Way” and “Time Lapse”)

Many also want the KATSEYE members to contribute more of a personal touch to their music, getting involved in production and song writing.

While “Gnarly”—a noisy hyperpop track that received mixed reviews but won praise for KATSEYE’s performances—proved to give the band virality, I am a bit wary of the group trying to replicate that success with a track like “Internet Girl.” While the latter is more pop-rock in tone and more approachable to the ears, it at times feels like KATSEYE’s music was made simply to create memes and moments.

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I am mindful that these girls are still very early in their careers, and hopefully they’ll have many more years to show who they are to the world. Lots of money has been pooled into forming such a group in the first place by HYBE and Geffen. If I were to make any critical notes, I want just a bit more depth in the music! It’s one thing to have fun, make jokes and giggle with each other. But what about the more serious and emotional sides we saw displayed during their trainee eras? If we’re witnessing their journey from the beginning, we want to be let into some of the more vulnerable moments showcased through song!

Still, as a lover of pop groups, the reason why I’ve turned to K-pop is because it’s long filled the void of not having one present in the western music scene…until now. While KATSEYE’s association with the K-pop world has been debated (I consider them adjacent), I was still heartened to see so many fans unfamiliar with the K-pop system attending the KATSEYE concert and showing love to the girls.

I for one, am ready for a resurgence of girl groups in the west. I think KATSEYE marks the beginning of a new era.

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

(Photo credit: Julian Song)

What a difference one year can make.

Back in August 2024, I hopped on a zoom call with KATSEYE, one day after the Netflix docu-series Pop Star Academy released on the streaming platform. While KATSEYE, formed under the reality competition show Dream Academy, officially made their debut two months prior, it was after this series that truly got people noticing the band.

Since my call with the group, KATSEYE’s star has only kept on rising. In April, the band shocked fans with the grungy, hyperpop track “Gnarly”—moving away from the bubbly and cute concept of their debut EP SIS (Soft is Strong). The girls attracted huge crowds during their Lollapalooza debut. And just about everywhere you went, you’d see KATSEYE’s faces attached to brands like Pandora, Jollibee and 5 Gum. Most iconic of all, KATSEYE’s Gap Jeans commercial won praise around the world, as the commercial celebrated a girl group that represented all cultures.

With 2025 being a breakout year for KATSEYE, the band has now landed two Grammy nominations, and are about to head on a sold-out North American tour.

Before the band’s Toronto stop on Tuesday November 18, I thought I’d share the full interview I did with KATSEYE just a year ago. There were certain details I had to cut for length in my original written story for RepresentASIAN Project.

Below, I chatted with the girls about sisterhood and why representation matters.

Conversation has been edited and condensed for clarity.

Congratulations on the new EP! I wanted to break the ice by having you introduce yourselves and the unique roles you play in KATSEYE!

Sophia: I’m Sophia, and I’m from Manila, Philippines. We actually have individual dream charms. Mine is the Dream Anchor, and as the leader of KATSEYE, it kind of represents the stable core and grounds everybody through kindness and intelligence as we embark on this crazy journey.

Daniela: I’m Daniela. I’m from Atlanta, Georgia and my charm is the guardian shield. It signifies bold confidence. It symbolizes strength, and its purpose is to defend and protect us from the dangers and threats of the world.

Yoonchae: I’m Yoonchae. I’m from Seoul, South Korea and my dream charm is Soothing Shell. It provides gentle comfort to the other members.

Lara: Hi, I’m Lara. I’m from New York and LA and I’m the limitless key. So basically it represents opening and unlocking new opportunities and new doors for the group. I’m kind of the adventurous one, and I always push the group to expand and to keep trying new things.

Megan: I’m Megan, and I’m from Honolulu, Hawaii. My dream charm is the Dual Cherry. I bring the duality of a sweet but also tart kind of personality into the group. I bring the fun and the energy and the confidence.

Manon: I’m Manon and I’m from Switzerland. My dream charm is the Stellar Tiara which stands for elegance and royalty. It kind of represents my quiet confidence. Like auntie/big sister vibes to the group.

Your debut EP also has a dual meaning, SIS (Soft is Strong). Can you tell me about how that describes you as a group?

Daniela: SIS stands for soft is strong, and I think our whole EP really does showcase our sisterhood, our duality as KATSEYE and as individuals. How soft is literally strong, kind of like porcelain dolls. [They’re] very soft [in appearance] but also very strong and durable.

The songs in the EP, they represent us perfectly. Every song has a different meaning, and there’s some songs that are more stronger, and there’s other songs that are softer. “Touch” is one of our softer songs, for example, and “Debut” is one of our stronger songs.

Being a group over the last year, how has that helped you form a sisterhood and bond?

Sophia: It’s been such an amazing journey, like I spent so much time with these girls, and it’s so cool that we all are constantly reminding each other that we’re literally living our dream. And it’s so cool because it’s a good reminder for each other every time we’re going through, like, all these hours of rehearsals and all the struggles and communicating with each other. The best part about this group is that we’ve really made such an effort to always make things work and be there for each other. And I think that’s really what makes us sisters.

It’s so cool because my sisters are literally from all over the world! I never would have thought I would be in this kind of situation. We’re all so grateful.

You talked about how “Touch” is one of your softer songs. While “Debut” is a stronger song. What went around picking those two tracks as the singles for this EP?

Lara: I feel like “Debut,” we wanted that to be our first song because it’s our first statement as KATSEYE. Lyrically, that was what we wanted our first thing out in the world to be. It’s very bold, it’s very confident, and I feel like it shows the strength we have together as a group.

Then “Touch”, when we all first heard [it], we knew. We were gagged! We knew this is the one! But we felt like it needed to come second, because we wanted people to have a little taste of what we would bring to music.

What was it about “Touch” that felt so magic?

Manon: The first time we heard it, I remember just being like, “Oh my god. It’s so catchy!” It wouldn’t leave my head. I love the lyrics in it. It’s so relatable and very like girl power, and it’s just a feel-good song.

Lara: I also feel like the production on “Touch” is so fun. It’s so fresh and inspired by PinkPantheress. She’s such a big inspiration to us.

Your group gives me glimpses of girl bands of the past. Were there certain girl groups that you grew up feeling inspired by and still feel inspired by?

Daniela: Oh my gosh, so many! We have Destiny’s Child, Pussycat Dolls, Spice Girls, Blackpink, LE SSERAFIM, aespa...there’s so many.

You worked with producers like Ryan Tedder and Slow Rabbit on this project. What would you say are some things you learned in the recording booth with them?

Sophia: I feel like one of the biggest things that we really learned throughout the making of this EP was how the most important and effective thing to really make these songs hit is our own intention in the story that we want to tell. Because, we can enter that booth and just sing these songs and say the lyrics and all that, but they’re never gonna mean anything unless we give it meaning. And so, Ryan Tedder gave us all a second and a little talk beforehand. Like, “Girl, go for it!” He put us in a headspace where we could be like, “Okay, we’re artists. These are our songs. These are our lyrics.”

Speaking of sisterhood, something that really touched my heart is how you celebrated Yoonchae’s high school graduation by surprising her with a party. What did that mean for you, Yoonchae?

Yoonchae: I think it was so cute, I was so touched. I was also surprised…

Sophia: (laughs) We were being so suss!

Lara: She KNEW something was up.

Sophia: She was laughing at us, and we thought we were doing so good!

But I think that’s what it’s like to be in a family in some way. You’re all living together, but apart from your family. How has being together helped you through the challenges of being apart from your family?

Sophia: I think that was one of the biggest sacrifices that a lot of us had to make was moving away from home and not being able to see our family. I think all of us understood that we were going through that, and so stepping in for each other and really being there for each other was one of the things that I feel made us get through this a little easier.

And the best part too, is that the girls who do have some family here, like, they’re always inviting us over. Like, Lara’s parents and Megan’s too.

Sometimes, Dani’s mom will come over and take care of all of us as well. Once we joined this program, we were all like family. We only had each other. We also have so many people in the company who are just always taking care of us.

Megan, what do you guys do together in your downtime?

Megan: There was one time where me and my mom took all the girls to this Singaporean-Malaysian restaurant. I made them all order laksa and Hainan chicken rice. It was just a really fun day. And, I take them around. They go shopping [in] the malls because I also drive. I get to drive all the girls everywhere.

Since Dream Academy aired, we only got glimpses of the process of how you guys trained and became a group. But Pop Star Academy, the docuseries on Netflix, goes a little deeper and gives a more honest look at what it’s actually like.

What do you want people to know about the journey and growth that you guys have had as performers now that the series is out?

Lara: I feel like we really want them to see how hard we worked, because I think it was a lot of time compiling it to eight hours of footage. So, a lot more happened. And we want them to know how passionate I think we all truly are, and how much we actually did rely on each other. We hope that people are inspired watching it. Know that you just need to be consistent, work hard and you will achieve your goals.

Manon, I know you had some ups and downs during evaluations, especially when you got critical notes. How has that helped you grow?

Manon: I think at first, I was very new to this process. I didn’t know anything about K-pop, and I had to get used to it. You know, getting criticism and everything at first can be hard. But again, we always talk about how much we’ve grown through the process, and how much we’ve learned. And I think one of the main things I’ve learned is that, you can prove people wrong. If you get criticism, work harder and fix it.

Megan: I also think getting criticism and everything really built up our thick skin for the industry that we are going into. I feel like everything that we experienced through this program really kind of prepared us to what was gonna come for when we made KATSEYE. This industry is not easy.

(Photo credit: Julian Song)

Many girls right now probably would not have imagined seeing a group like KATSEYE. What does representation mean to you?

Manon: I think it means everything to us. That’s something we’re so proud of. We look so different and that’s something we all wanted to have when we were growing up. I feel like it’s just such a beautiful thing to know that young girls can look at us, at our group, and see themselves in us and really know that anything is possible. So we want to open up doors and encourage young girls to follow their dreams and show them that anything is possible.

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Lara: I think that as an Indian girl and just as a South Asian in general, there hasn’t really been any South Asian artist, like pop star, in the media. And growing up, I always felt like that was my weakness. I felt like, because I was brown, I couldn’t do this, and it would hold me back. As I’ve grown up, I’ve learned it’s my superpower. I feel like representation is so important, especially for little kids growing up. It’s so important to be able to see someone that looks like you and have a role model and an idol that you can look up to.

Sophia: I feel exactly the same as Lara. Having Filipino representation anywhere makes us so proud because we don’t see it a lot, especially in this industry.

I remember the first thing they ever put out when they announced us in Dream Academy was all of us saying “dream” in our language. And I remember when people heard pangarap, which is “dream” in Tagalog, they were all like, “Was that Tagalog?” That’s what made me cry. I didn’t cry about this until I saw the comment that was, like, “Filipina fangirl here. I heard my language!” I started bawling. It was insane. I never thought it was gonna hit that hard.

Is there anything you’d like to achieve down the line as a group together?

Daniela: So many things that we would love to do. Tours! We would love to win awards. We definitely want to get to communicate with and see our EYEKONS up close and personal. It just makes us really excited for what’s to come in the future.

Follow KATSEYE on Instagram and listen to the band on Spotify!

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

Is K-pop finally getting its moment at the Grammy Awards?

Until 2025, K-pop hasn’t been recognized at the awards show, with the exception of BTS. The band has been nominated a total of five times (including Album of the Year for Coldplay’s Music of the Spheres as a featured artist). But it looks like things may change in 2026.

As nominations for music’s biggest awards show were announced Friday, history was made as KPop Demon Hunters, ROSÉ and KATSEYE all scored nominations. Is it because the artists and teams behind these acts have figured out what makes western audiences tick? Or is it because all three just had major backing by major labels in the west?

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Much has been said about the way the Grammy Awards committee votes and recognizes who gets nominated over the years. A lot of these discussions have had to do around perceived biases against nominating artists of colour, particularly those of Asian descent. Earlier this year, Korea Times reported The Recording Academy is exploring the idea of an Asian Grammy Awards to be hosted in Korea or Japan. In theory, this could be similar to the Latin Grammy Awards (which started in 2000). But over the years, there has been much criticism by fans and industry folks that cultural specific awards like the Latin Grammys further segregates artists of colour from the main show.

It’s true representation for Asians still has a long way to go for most arts institutions.

Regardless, I can’t help but think about what a huge win it is to see the three K-pop artists nominated for Grammys — ROSÉ, KATSEYE and the singers behind KPop Demon Hunters — all happen to be women of colour.

Each got here because of smart marketing and strategic campaigning. But beyond that, they all got to this point just by amplifying who they are as individuals.

When it comes to ROSÉ, she is the first female K-pop artist to land three nominations for Song of the Year, Record of the Year and Best Pop Group/Duo Performance. She comes as a member of Blackpink, one of the biggest girl groups in the world. Following the momentum of a successful world tour in 2023 and being a Coachella headliner, ROSÉ inked a deal with Atlantic Records to distribute her solo LP Rosie. It also helped that she kicked off her solo era with a great flair, landing multi-Grammy award-winning pop star Bruno Mars to collaborate with her on her first single “APT.”

“APT” was a huge hit. Named after a Korean drinking game, the track features a simple and catchy chorus that had kids and their parents chanting along. It made for an easy sound to go viral on Instagram reels and TikTok videos. And with a name like Bruno Mars attached, it’s a recipe for success in grabbing Grammy voters’ attention. It should be noted that ROSÉ was the one who co-wrote the demo, and Mars further elevated the track after she invited him to collaborate on it. It’s excellent teamwork at play, utilizing both ROSÉ and Mars’s strengths and cultural pride. Through its infectious melody and easy to follow lyrics, “APT” was undoubtedly a commercial success, staying on the Billboard Hot 100 for at least 33 weeks.

KATSEYE, who landed nods for Best New Artist and Best Pop Group/Duo Performance for “Gabriela”, is what’s known as a global girl group. One could argue they aren’t K-pop at all. But as a project born out of the labels HYBE and Geffen Records, members of the band were formed using K-pop trainee methods. Hundreds of girls auditioned for the group. Prospective candidates trained in Los Angeles and Seoul with both American and Korean choreographers and instructors.

While pop groups are strategically mapped out and manufactured for the industry, many still saw something special about KATSEYE this year. It began with the release of “Gnarly”, a grungy, noisy hyperpop song which panned critics and fans alike, but won praise for KATSEYE’s commitment during live performances.

The band also broke barriers when members Lara and Megan both came out as members of the LGBTQ+ community this year. And in the summer, KATSEYE starred in a viral Gap Jeans commercial that celebrated all races, genders and personalities. All of it came at the heels of Sydney Sweeney’s American Eagle ad that garnered backlash over language people saw as supporting eugenics and white supremacy.

With that, KATSEYE won over many fans—known as EYEKONs—who quickly sold out the group’s upcoming North American tour. KATSEYE is proof representation matters. As Manon told me last year, “I feel like it’s such a beautiful thing to know that young girls can look at us, at our group, and see themselves in us and really know that anything is possible.”

It’s no surprise why KATSEYE, in their breakout year, is being recognized by The Recording Academy.

And finally, who could have pictured the runaway success that is KPop Demon Hunters? It is the most successful original film on Netflix, and the songs continue to chart on Billboard. But beyond streams and charting, nothing tugs at the heartstrings of Academy voters more than an underdog story.

EJAE, the singer and songwriter behind hits like “Golden” and “What it Sounds Like” is having her breakout year. Despite performing as the singing voice of an animated character, many have quickly come to learn about her back story. In her early years, EJAE spent a decade training at SM Entertainment hoping to debut in a group. When her dream did not materialize, she decided to work in the background as a songwriter, penning hits for Red Velvet and aespa.

To me, EJAE’s journey is an inspiring tale that shows audiences her powerful voice is too good to stay hidden. It mirrors the journey of her character Rumi in KPop Demon Hunters, who grapples with a dark secret she’s been hiding from those she loves. In the end, she learns to embrace who she really is, and that power comes from our own individuality. It’s a narrative that writes itself! And, it’s an incredibly smart move for Netflix, Sony Pictures Animation and Republic Records, to capitalize on her journey. Firsts matter so much in awards campaigns, and EJAE is now the first Korean-American woman to be nominated for Song of the Year at the Grammy Awards.

When I think about what all three nominees have in common with each other is the fact that each have made a real effort in being authentic in their storytelling during their awards campaign. ROSÉ has showcased vulnerability in interviews and her debut LP Rosie, and spoke about who she is as an artist outside of Blackpink. KATSEYE used their Gen Z humour and personalities to tell their story on social media. While EJAE discussed her artistic journey at length in several interviews, at times even getting vulnerable and emotional herself.

It’s no secret K-pop has been trying hard to break into the western market, as more and more groups release all-English songs and do cross-cultural collaborations. But the thing I have missed with many of these releases is it often seems like it’s created for social media virality, and doesn’t necessarily play to these artists’ strengths or highlight authenticity. There’s no compelling story! There’s no depth or substance. And to be fair, not all songs need to have deep meaning. But the ways in which labels have pushed ROSÉ, KATSEYE and the cast of KPop Demon Hunters to share their stories in open, personal and often raw ways during the awards campaign has certainly managed to resonate with audiences. On the flip side, it also helps that all three also have western backing—something a lot of K-pop artists don’t have much access to.

This year’s Grammy nominations have also brought up the whole BTS question of it all. Some have expressed disappointment that BTS might not be the first K-pop act to win a Grammy. Others brought up their anger over the group being snubbed once again.

The fact that so many K-pop acts have been nominated at all this year can largely be attributed to BTS, who helped open doors for K-pop to be seen on a platform like the Grammys.

Getting K-pop to be taken seriously by western awards shows will not happen over night, let alone a few years. Thinking about the what-ifs and making comparisons diminishes everyone’s achievements.

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

(Photo credit: High Up Entertainment)

What does it mean to sound like K-pop? That is a question I’ve been asking a lot recently. As the genre and industry (and one can argue it’s more of a business than a sound!), continues to veer more towards the west, you can also hear that impact on the music being released.

From afrobeats, trap to hyperpop, K-pop songs are taking inspiration from these genres all while becoming shorter in length and incorporating way more English phrases. Even much of the songwriters tapped to write K-pop songs come from the west. And like much of the pop music scene, songs today tend to gear towards viral success that would transfer well for social media trends. While I love and appreciate cross-global collaboration, I have wondered if the experimental nature of what made earlier iterations of K-pop interesting to listen to is getting lost in the mix.

One could argue though that the K-pop girl group STAYC has strived to maintain some of the nostalgia of the past. At least, that’s how I felt after I saw the girl group play their first-ever Canadian show at The Theatre at Great Canadian Casino Resort Toronto.

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STAYC is a girl group that debuted in November 2020 by High Up Entertainment, with their name standing for Star to a Young Culture. The group describes their signature sound as “teen fresh”, which is designed to give off a bright and positive energy to listeners. STAYC’s hits like “ASAP” and “Poppy” are perfect examples of this distinctive bubble gum pop sound.

The “teen fresh” sound of STAYC is due to the magical touch of the duo Black Eyed Pilseung (made up of Radio and Choi Kyu-sung), best known for iconic hits like TWICE’s “LIKEY” and “FANCY”, SISTAR’s “Touch My Body” and Apink’s “I’m So Sick.” The pair have helped popularize the girl crush concept in K-pop through creating songs that celebrate femininity, confidence and fierceness. STAYC are the first group produced by Black Eyed Pilseung. However, it will be interesting to see what STAYC’s musical future will sound like, as Black Eyed Pilseung has since broken up due to differences in artistic directions.

Musical future aside, I can honestly say I haven’t had so much fun at a K-pop concert in a while. Don’t get me wrong, all K-pop shows are fun due to the sheer spectacle of it all—from costumes, choreography to production. But there’s a real playful energy to STAYC’s performances. Every move and every song felt like a jubilant celebration. The screams for hits like “Cheeky Icy Thang”, “Teddy Bear” and “Stereotype” also reverberated across the arena. Not to mention, I particularly found satisfaction chanting the band’s signature line: “STAYC girls, it’s going down!”

(Photo credit: High Up Entertainment)

STAYC also took time to showcase their separate personalities through a series of sub-unit and solo performances. Sieun, Seeun and J showcased their chemistry in a track called “Find.” Isa showcased a more sensual side during a solo performance for “Roses.” While Sumin and Yoon embraced their close friendship in the pop-rock track “Fakin’”.

The band also delivered several sweet moments to their fans when the six members returned to the stage. During “Bubble”, they shot bubbles into the audience. And during the encore, STAYC delighted the crowd by greeting them directly in the pit, all while completing hand hearts with fans.

There was also a lot of sincerity amongst the STAYC members, who mostly opted to speak in their native Korean to express how they truly felt about their fans, known as SWITH. With Toronto being the final stop of STAYC’s [STAY TUNED] North American tour, it was evident how emotional each of the members felt about reaching the end of a gruelling schedule. In the middle of the performance, Yoon even burst into tears.

“I wanted to make sure I enjoyed [this tour] as much as I can,” says Sieun, who took the lead in addressing the crowd in mostly English. “I wanted to make sure I communicated more with you guys.”

@bunnipopletterWhen @STAYC surprised the Toronto crowd during encore. #stayc #kpop #toronto #swith #staycgirlsitsgoingdown

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STAYC fans also loved hearing the band give shout outs to Canadian staples like Tim Hortons and Beavertails, with the members even taking a crack at Canadian slang like “Eh?!”

Despite the joyful energy on stage, the experience down on the floor was at times less than stellar. It was difficult to see the stage in the crowd (which surprisingly had a lot of tall men). At times, this caused people to lift their arms high up to film the stage, blocking people’s views. And during the first part of the show, people blocked the aisles just to get a better glimpse of the stage.

(Photo credit: Samantha Lui/Bunni Pop)

This could be due to the fact that that STAYC’s production team did not bring a camera to film what was happening on stage, so people further away could not see the members up close on screen. Sometimes, it was also a challenge to see which member was speaking. Despite this, STAYC manage to work the crowd, and the energy inside the Great Canadian never faltered.

Going back to my earlier points about STAYC’s signature bubbly sound, I have always felt that this group is underrated. In five years, STAYC has delivered a slew of great hits—despite the fact that the K-pop industry continues to get more competitive and oversaturated with groups. But while bubble gum pop and sweetness has become STAYC’s signature style, I will be curious to see how the band evolves moving forward as they continue to mature as performers.

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

(Photo credit: Starship Entertainment)

DAYOUNG is betting on herself these days.

Although it’s been nearly a decade since she came onto the music scene as a member of WJSN, the singer only made the decision to debut as a soloist in 2025. That choice has since paid off immensely.

On September 5, the singer released her debut single album gonna love me, right? to rave reviews. With her lead single, “body”, DAYOUNG scored her very first South Korean music show win. And earlier this month, DAYOUNG received nominations for this year’s MAMA Awards (one of South Korea’s most prestigious awards shows) for “Best Dance Performance Female Solo” and “Song of the Year.”

Despite its September release, I consider DAYOUNG’s “body” one of the best K-pop songs of the summer. The dance pop track embodies confidence, fearlessness and sensuality—with its accompanying music video perfectly capturing what it feels like to flirt and have fun on a summer’s day.

For DAYOUNG though, confidence hasn’t always come easily. Though with years in the industry, she tells bunni pop that performing with WJSN helped give her the strength to “take the stage on my own.”

“Being in WJSN taught me so much—not just about teamwork and stage presence, but also about how to truly respect and connect with music,” she tells me.

“It wasn’t about proving anything to anyone. I just had a stronger desire to grow as an artist and as a person. And that’s why this timing felt right. Everything just aligned with where my heart was.”

Below, DAYOUNG chats about her solo era, scoring her first music show win and what she’s manifesting for herself moving forward.

Conversation has been edited and condensed for clarity.

(Photo credit: Starship Entertainment)

Congratulations on scoring your first music show win! What was it like to achieve this milestone?

It still feels unreal, to be honest. When I first performed “body,” I told myself, “I believe in this song.” But deep down, I was nervous. I kept wondering if people would love it as much as I do. So when the win was announced, it wasn’t just joy, it was pure gratitude. I thought of my team who worked so hard, and my fans, who supported me every step of the way. That moment will stay with me forever.

How did you celebrate the win?

It was actually a very quiet celebration. I had a super early schedule the next day, so I barely slept for two hours and couldn’t go out that night. Later, when things calmed down, I went out with my members. We had duck barbecue and a few drinks. We laughed so much that night. It wasn’t anything fancy, but celebrating with my “family” made me realize how lucky I am. It was one of the warmest nights ever.

Can you take me back to the first time you were approached with the song “body?” What was it about the track that really made you feel it was special?

It just felt so honest and full of confidence—a completely new side of me I’d been wanting to show. As soon as the melody started playing, I could already picture the whole stage: how I’d move, how I’d look, and how it would feel. “Body” wasn’t just another track to perform. It was a story that truly represented what I do best.

You were very involved in the creation of the track from the choreography, the music video and the styling. What vibe did you want to capture?

I wanted everything—the song, the choreography, the visuals—to feel like one continuous story within three minutes. That’s why I didn’t want the dance to be just powerful, but emotional and fluid too. I discussed every detail with my team, from lighting to camera movement to styling. In the end, it truly felt like our story, not just mine, and that’s what made it so special.

What story did you really want to tell people about yourself at this point in your life and career?

I wanted to tell people, “This is who I am right now.” I loved the bright, cute version of myself that people saw before. That was real too. But this time, I wanted to show the part of me that’s grown—braver, more honest, and more in control of my emotions. I think this album captures the feeling of becoming an adult, step by step. It’s about connection and showing my most authentic self.

I think people have described this new era as mature and sexy! I think it’s also a song about confidence. How would you describe your journey to finding that confidence in yourself when you look back at your career?

Confidence didn’t come naturally to me. In the beginning, I used to think, “You can’t mess up. You have to be perfect.” But over time, I realized confidence isn’t something others give you. It’s something you build when you accept yourself. Through countless rehearsals, performances, and even mistakes, I learned. Every time I failed, I analyzed why—replaying videos, studying my own patterns. Each correction built a small piece of confidence. Now, my confidence comes from showing my real emotions on stage, not hiding them.

Many have also described you as a diva, with callbacks to pop icons of the 2000s and 1990s. Who are the artists that are inspiring you these days?

There are so many. It’s hard to choose just one. I grew up watching pop icons like Beyoncé and Britney Spears, and these days I’m inspired by artists like Ariana Grande, Sabrina Carpenter, and Doja Cat. They keep evolving but never lose their identity. That’s the kind of artist I want to be — unafraid of change, but always true to myself.

Eric Nam co-wrote all the tracks on this album. What was the process like, working with him?

Eric is such a thoughtful and sincere artist. From the very first meeting, he genuinely listened to my stories and what I wanted to express. Making the songs together felt less like a project and more like an ongoing conversation. He helped me translate emotions into sound in the most natural way. Because of that, I think my true feelings really came through in this album.

What did you learn from him as an artist and songwriter?

He taught me that real music carries a story, not perfection. Eric always said, “Whatever feels right to you is the best take. It’s your art.” He pushed me to explore what I truly love and to sing with sincerity, not just technique. His advice changed how I approach my work. Now, I focus less on outcomes and more on the process, emotion, and connection.

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What was the decision behind releasing an all English project?

It might sound a little unexpected, but I actually learned how to sing through pop songs back when I was a trainee. I used to cover one song a day — Alicia Keys’ “Brand New Me,” Jessica Sanchez’s “Stuttering,” Monica’s “Before You Walk Out of My Life.” Maybe that’s why, even though speaking English still feels hard for me, singing in English just feels natural. My vocal tone and colours really shine the most when I sing in English. So this time, I thought, “Why not put together everything I do best?” and decided to sing in English to express my honest feelings. Eric helped me so much during the recording, and I’m really grateful for that.

You co-wrote “marry me.” Can you tell me about the story behind that track?

I wanted to create something that people could easily relate to and feel warm listening to. When I shared the idea, the lyrics just started flowing naturally. It’s a love song, but not about the “perfect” kind of love. It’s about the kind that feels comforting and real. My friend Olivia Knox, who co-wrote the song with me, completely understood my heart. I just want to say thank you to her again. This song is really special to me.

I also wanted to ask about “number one rockstar” which really reminds me a lot of the pop-rock songs from the 2000s. What was it like channeling a more rock-heavy song?

It was so much fun! I grew up listening to pop-rock from the 2000s, so recording this song felt nostalgic in the best way. It reminded me of the raw energy of those days — loud, free, and unfiltered. I love that wild, expressive side of it. Every time I perform “number one rockstar,” it feels like releasing a new kind of power.

(Photo credit: Starship Entertainment)

How has your time at WJSN prepared you for this moment?

Everything I experienced as part of WJSN has helped me get to this point. Through group activities, I learned teamwork, patience, and the true value of being in it together. I also saw how much effort goes into even the smallest details — every rehearsal, every camera movement, every staff member. Now that I’m leading my own team, I carry that same mindset with me. Even though I’m standing on stage alone, none of this happens alone. It’s something we create together, and I’m always deeply grateful for that.

How have the members supported you through this release, and win?

EXY, BONA, and YEONJUNG cheered me on so much. Before my first stage, they sent me messages like, “You’ve got this!” and “You’re the best!” And when I won 1st place, they actually ran up to the stage. I couldn’t believe it. The moment I looked into their eyes, I just burst into tears. I was so happy. We’re not just teammates — we’re truly like family. When one of us shines, it feels like we all shine together.

You have a hit song and a music show win with your solo debut. What are you manifesting and hoping for yourself now?

My biggest goal right now is consistency — to keep going with honesty and passion. Of course, numbers and results matter, but more than anything, I want to create music that people can love for a long time. If even one of my songs can comfort someone or give them strength, that would be the greatest gift. I also really want to meet my overseas fans in person. I miss them, and I want to give back all the love they’ve shown me through my music. Above all, I want to keep walking this path sincerely, with gratitude in my heart.

Follow DAYOUNG on Instagram and listen to her on Spotify!

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

(Photo credit: Fantagio)

Longevity and growing up together has long defined the journey ASTRO has faced together as a K-pop group over the course of a decade. But it hasn’t always been easy.

2023 was a particularly challenging year for the band, marked by change, growth and grief. Member Rocky ultimately decided not to continue his exclusive contract with ASTRO, and has since pursued solo endeavours. And in April that year, ASTRO also coped with the sudden death of their bandmate Moonbin.

Still, as ASTRO approaches their 10th anniversary next year, the group has remained stronger than ever despite the ups and downs. In June, ASTRO performed their first full group concert in three years, even inviting Rocky to participate. It also marked the first time the band performed together since Moonbin’s passing. It was a touching moment for both ASTRO and their fans, also known as AROHA, as it allowed both to reconnect with one another since 2022.

“The most memorable time for me is our most recent ASTRO concert,” MJ tells bunni pop.

“Every moment with the members and our fans is precious, but this concert felt especially meaningful. For me in particular, it had been such a long time since I’d met with fans in person.”

Now as ASTRO continues that celebration of friendship, members MJ and JINJIN are forming the band’s third sub-unit known as ZOONIZINI. The duo’s EP DICE released on August 13th. Their lead single “Some Things Never Change” also describes the pair’s bond together.

“I wanted to show that even though things have changed, our bond hasn’t grown distant, it’s only gotten stronger,” JINJIN says.

“The song carries the message that despite everything from our younger days to now, we haven’t really changed, and it also looks back on the memories from those carefree times.”

There’s a cheerful energy in the music video that accompanies “Some Things Never Change”, as JINJIN and MJ hang out together in a loft while reminiscing about the past.

“We wanted to show the message of [enjoying] the moment wherever we are. And we’re happy as long as we’re together,” JINJIN says.

There’s a running theme across DICE as an EP, a project that both MJ and JINJIN says celebrates the act of living freely and staying grounded. It’s refreshing given the challenges ASTRO has faced in recent years. But embarking on this new journey together as a sub-unit has given better appreciation for each other, and how beautiful life can be in general.

“We created DICE at a point where we were feeling more at ease mentally, and I realized that just like there’s an art to letting go, you really do start to see a lot more once you do let go,” JINJIN says.

“JINJIN and I have really good chemistry, and we like to joke around a lot, so I thought it would be fun and refreshing if we came out as a unit,” MJ adds. “As a unit, we can show a different kind of music and colour that we couldn’t really present as a full group, and that’s why we decided to form this unit.”

The majority of DICE was co-written by JINJIN, which added a personal touch to ZOONIZINI’s debut.

MJ particularly praised “New World” as a highlight from the EP. The sentimental ballad has the pair singing and contemplating the future, giving the vibe of a song one would hear during the climax of a Disney film.

“It still carries that ASTRO feel,” MJ says. “The moment you hear it, I think it’ll make you feel relaxed and comfortable.”

JINJIN himself names “Utopia” as his personal favourite off DICE, which also happened to be the one song he did not take part in writing and composing. He adds that the disco-inspired song is the “perfect song” for hot summer days.

“The first time I heard it, I could instantly picture us just having fun on stage. It felt like putting on an outfit that suits us perfectly, so I have a lot of affection for ‘Utopia,’” JINJIN adds.

There’s a casual and down-to-earth vibe to MJ and JINJIN’s style of performing, different from ASTRO’s graceful, fluid and highly synchronized choreography often seen on tracks like “Again” and “Blue Flame.”

Instead, what the pair exudes on stage is joy, something MJ and JINJIN wanted to showcase to the fans during live performances on competition shows like Show Champion. Some might even say ZOONIZINI is giving off the carefree nature often seen in rookie groups experiencing the stage for the very first time.

“We eased up a lot on the choreography,” MJ says. “We wanted people watching ZOONIZINI’s stage to feel comfortable, so we tried to bring in the vibe of just friends hanging out.”

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It’s refreshing to see a renewed sense of energy among K-pop veterans like JINJIN and MJ at this stage in their careers. But after a decade of performing together, it’s clear the next chapter will be marked by appreciating the joys of life, enjoying each other’s company and letting go of the past.

When asked about how they’d like ASTRO’s fans to embrace living freely on their own terms, JINJIN and MJ both hope DICE can be a reminder to slow things down and appreciate the small joys in life.

“At least for this time, I hope everyone can just relax and enjoy themselves to the fullest,” JINJIN says.

“I want AROHAs to fully embrace this moment, and I hope that through this album promotions, you can feel a little more relaxed and happy.”

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