(Photo credit: BIG HIT MUSIC and Netflix)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(Photo credit: TITAN CONTENT)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(Photo credit: TITAN CONTENT)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Follow AtHeart on Instagram and YouTube!

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

(Photo credit: H&P Entertainment)

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

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

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

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

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

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

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

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

Conversation has been edited and condensed for length and clarity.

(Photo credit: Pan Entertainment)

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

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

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

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

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

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

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

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

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

(Photo credit: H&P Entertainment)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

How have you pushed yourself to try new things musically?

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

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

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

Message for the Canadian fans?

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

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

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

(Photo credit: jakeyjbae/Instagram)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(Photo credit: jakeyjbae/Instagram)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Follow JACOB on Instagram and YouTube!

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(Photo credit: Sofia Kay)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Follow Sofia Kay on Instagram and Spotify!

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

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

(Photo credit: XGALX)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Jason: Metropolis!

Jackson: Blade Runner!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Jeremy: I would call it a space extravaganza.

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

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

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

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

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

(Photo credit: GREAT M ENTERTAINMENT)

82MAJOR isn’t immune to switching things up.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(Photo credit: GREAT M ENTERTAINMENT)

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

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

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

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

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

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

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

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

FEELM is out now! Follow 82MAJOR on Instagram!

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

(Photo credit: Wuzo Entertainment)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Quick fire questions!!!

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

TIME MACHINE

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

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

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

Talk to animals

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

RAMEN

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

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

Follow SYA on Instagram and BLITZERS on YouTube!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

In related news…

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

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

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

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

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

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

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

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

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

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

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

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

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

(Photo credit: Blue Dot Entertainment)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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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?

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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.

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