Search Results

DK and Seung Kwan who are popular main vocalists within SEVENTEEN on 12th January 2026 at 6:00 PM KST unveiled their first official mini-album as a new vocal unit DxS. Named Serenade (소야곡) the first debut of this kind serves to be a big break in their career since it does not only draw attention to their amazing vocal abilities but also shows how devoted they are to express deep human feelings by means of music. Serenade is a complex expression of love and vulnerability portrayed in detail, it tells the story of an average relationship- from the exciting moments, heartbreak and separation, to the indefinite wait for another chance at happiness.Produced and distributed by PLEDIS Entertainment and HYBE, Serenade is a nuanced exploration of love and vulnerability, offering listeners a carefully constructed narrative of an ordinary relationship—from its initial spark to eventual separation and the quiet promise of renewal. Serenade is the first project that puts DK and Seung Kwan as a duo apart from group’s collective work, and projects. although the two have worked together before under the sub-unit BSS of SEVENTEEN alongside Hoshi, this release is their first collaboration to make music focused only on their voices. Instead of high-energy performances or complex arrangements the album values more emotional connection , closeness and simple yet deep feelings of every day love. Both artists have stressed that the project is meant to be empathetic, with the lead single which is “Blue” being a song to cheer up people after a tiresome day. The first track of the album is “Rockstar,” DK’s solo number. It presents a pop-rock sound using guitars and synths from the yesteryears as well as retro beats, its light touch making it an exuberant feel. In so doing, DK inadvertently invites peoples’ attention towards those they engage in, as he depicts such an engagement as if it were a performance worth acknowledging ; an application of “rockstar mindset” in real life scenarios. A light hearted beginning helps set the mood for the readers and provides a counterpoint to the deep thought of coming paragraphs thus ensuring that they are more felt. The song “Blue”, the title track, is a seven-minute orchestral ballad which has a duo of great vocalists to showcase their skills. The song depicts love that unfolds at different speeds and does so perfectly by indicating the contrast that comes when two people are emotionally not in harmony. This track has a lush orchestration structure with rich piano backing and finely layered harmonies then lets DK’s and Seung Kwan’s voices run before coming together for an emotional climax. By using visual elements, the music video further shows the audience that there is a depth in the story that cannot be put in words through the actors Lee Yoo-mi and Noh Sang-hyun who played his roles as two lovers that break apart slowly. The way it tells a story visually may be subtle yet very powerful, being dependent on movements, looks and positions to show how much has grown between characters. This track, as well as other tracks, will help you to walk through the spectrum of human emotions which most time should be given at the beginning of a story. ‘Guilty Pleasure’ explores the conflict between lust and moderation with a modern R&B-pop sound. It’s smooth, sensuous production stands in contrast to the orchestral “Blue” –prop which shows how they can deliver different emotional scenarios yet spruce vocal focus remains . ‘Silence’ is a depiction of what comes after a break up in which emptiness and nothingness are expressed in modern pop ballad form that gradually grows in intensity - it treats silence itself as an emotional presence. Seungkwan’s solo “Dream Serenade” captures a more dreamy and cinematic vibe which is an elegiacal note of a past love, without being negative but with serenity. In the end, the album ends with “Prelude of Love”, the light pop-rock instrumentation to convey warmth, renewal and optimism. Co-composed by DK and Seungkwan, its lyrics depict well the hidden joy in love that can be felt in mundane moments: from getting up before alarm to walking towards someone when observing falling petals--literally and poetically ordinary love. The manner in which the album is sung contributes much to its appeal. DK’s delivery of the lyrics shows great expressiveness and clarifies it, as he can easily morph from brilliantly encouraging to introspectively soft, on the other hand Seung Kwan’s singing conveys warmth and resonance at the same time directing the focus on presence instead of polish. In their harmonies, particularly on “Blue,” start off a bit offset before coming together as one, this also mirrors the theme of mismatched emotional pacing in that particular song. Considering Serenade, both artists emphasized being real over just showing off their technical skills. They displayed moderation, subtlety, and natural delivery such that minor defects (breaths, slight hesitations, tonal shifts) serve to enhance sincerity and closeness rather than detract from it. The very essence of vulnerability is presented as a source of strength so that the power employed is more into making one feel it rather than showing off. In terms of lyricism, Serenade is always true to the main idea behind ordinary love. The title of the album, 소야곡, literally means “a love song sung at night” which gives a clear idea about its heartfelt and contemplative mood. Songs like “Prelude of Love” use specific types of images in an effective way and excitement as well as tenderness in normal situations are portrayed in this track; “Guilty Pleasure” on the other hand employs intricacy, taking into consideration desire and internal conflict with immediate, emotionally resonant language. Repetition and metaphor are subtly employed to make the feelings described universally felt so that the listener receives emotional development line of a relationship instead of disconnected events(system) or stories(narrative). The visual appeal of the project is aligned with its musical and lyrical aspects such as the one described above. Concept photos and teasers depict an understated, elegant pallet of blues and neutrals which inject a sense of warmth, nostalgia and tenderness rather than high drama. The “Blue” music video is a good example to this approach when there are actors and narrative that extend the emotional story of the song through its video. Physical album configurations (Blue, Echo, Compact) all have similar aesthetic values hence you will always get consistent visual connection from Oh Wonder duo. Before its official release Serenade had already attracted a lot of attention. A vocal challenge for “Blue” hit over 100 million views epitomizing the global expectations on DK and Seung Kwan as they embarked on their first ever duo project. The album‘s debut saw it topping music charts around the world, including on iTunes thus proving that it was not only appealing to SEVENTEEN’s fans. Despite its possible controversy for potential new fans who are used to high- energy or rhythmically diverse songs, but the emotional and vocal-oriented approach makes the work a sincere, mature artistic statement. Within the context of contemporary K-pop, Serenade shows this and more as it stands out with the following features – vocal expression, narrative consistency and emotional intimacy. Through focusing on love as experienced by human beings (its moments of hesitation, deviation, silence) DK and Seung Kwan have formed a project that gives storytelling and authenticity prominence over spectacle. The album does not only cement their identities as vocalists individually but also show that it is possible for sub-units to come up with conceptually coherent, emotionally resonant work. In Serenade, DK and Seung Kwan provide a well-polished interpretation of simple love which shows that the sensitivity and subtlety can be impressively emotional in a sphere often ruled by high dramatic value of production and performance. This is not just a craft to the side; it marks approached by two artists, who are ready to prioritize feelings, nuances, and human bond more than anything anybody could offer.

ILLIT released its Japan 2nd Digital Single Sunday Morning on January 13, 2026 at 12:00 a.m. JST with the confirmation of global digital release through BELIFT LAB under HYBE Labels. The group’s second original Japanese digital single also is a starting point for them to develop their long-term strategy in Japan which should be based on creative integration approach rather than simple localization. It is officially Sunday Morning as a J-pop rock song, the stylistic direction which was confirmed in BELIFT LAB’s communications and in the Japanese media that covered the label relying on its statements. The song has an emotional quality of both uplifting and gently melancholic since it employs clean rhythms, light rock energy, and bright yet controlled melodies. Its main aim is to represent deep affection and the subtle sorrow of desiring to meet somebody on a Sunday morning at the moment where anticipation, warmth, and vulnerability are felt simultaneously. Instead of telling an ordinary love story this composition have also focused on emotional textures that could raise different feeling in you like excitement and tenderness towards soft nostalgia through its melody as well as structure. One important feature of Sunday Morning is its cooperation with Mega Shinnosuke, a Japanese singer-songwriter aged 21, which was confirmed by BELIFT LAB officially. Famous for his viral hit Ai to U and having a strong position within Japan’s contemporary music scene, Mega Shinnosuke co-wrote and produced the track. His involvement is not by chance. Emotionally and musically positioning the single as an original work – BELIFT LAB achieved this goal by giving preference to Japanese creator rather than simply using existing Korean content. The single also has a strong narrative and cultural dimension through its selection as an official opening theme for season two of the anime ’Tis Time for “Torture,” Princess’. This information was put forward by ILLIT’s agency in a statement that was among other professional entertainment outlets reported by Korea JoongAng Daily. As an anime opening, Sunday Morning is tailored to promptly introduce mood and emotional tone so that the song is connected to a broader visual narration and gets embedded into Japan’s pop culture even deeper. Sunday Morning extends its storytelling visually by the use of cohesive imageries. The music video that officially was released alongside the single on ILLIT’s YouTube channel under BELIFT LAB tells the story around a “magical” restaurant that operates only on Sundays. In this space, after consuming foods prepared by the members guests are treated to fictitious elements which makes for a cinematic metaphor as to what love can do to turn the ordinary into something luminous. Prior to release there was an official teaser that introduced this equilibrium between every day realism and gentle fantasy, further supporting emotional themes of the song. By concept photos that were released on January 5, 2026 this universe was expanded further. A retro café-like environment serves as the backdrop for these visuals and they combine classic styles with elegant uniforms, under soft morning light, and narrative hints that are congruent with the music video’s restaurant theme. Combining sound, imagery, and narrative framing together reveal to Sunday Morning not only a digital release but something much bigger. Sunday Morning is their newest release after SUPER REAL ME in March 2024 and their increased impact on the Japanese market with Almond Chocolate or Toki Yo Tomare. It is a clear artistic statement that characterizes ILLIT’s further journey, its mission to become part of Japanese culture and a development of more refined way to convey universally appealing feelings through locally based creative style.

By releasing their digital single “LOSE YOUR SHXT” on January 10, 2026, at 1 a.m. KST over the major streaming platforms, the YOUNG POSSE made their debut back to the global music scene. K‑pop group consisting of Jeong Sunhye, Wi Yeonjeong, Jiana, Doeun, and Han Jieun have kept on steadily climbing up the musical ladder with genre-blending music as their thematic concern. The song "LOSE YOUR SHXT” is part of the Hearts Series Volume 3 and features a remarkable collaboration with Chinese rapper BENZO whose vigorous and distinct rap parts make the songs intercultural and unique. You can easily see that this track was produced under DSP Media just by looking at it listing on Apple Music system. Musically, “LOSE YOUR SHXT” is a hybrid of hip‑hop and K-pop styled music that fills listeners with energy. It's sound includes deep bass lines, vigorous rap delivery and loose structure that goes in line with the new generations boldness. The drum track was produced by Ludwig Lindell and WAVEBOY who have already made their names on some of the biggest K‑pop projects. Writing credits, given in official teasers and release information, consist of Lindell, BENZO, Hwaji, Jasmine, KIGGEN, and WAVEBOY which show that it’s a confluence of creative effort characteristic for Korean pop culture as well as hip‑hop. The pre-release publicity of the single was to be done through a teaser posted on the official social media account of YOUNG POSSE. It was rather playful display of what you should expect in the full music video. In the teaser, it shows a mini-narrative which is humorous in a fusion burger restaurant whereby BENZO is depicted as an overworked chef and the members of YOUNG POSSE are staff who have no worry at all almost chaotic. This contrasts visually the high-octane spectacle of rap with its nonchalant attitude perfectly underlining their song’s meaning of recklessness and ‘letting go’. The camera handling is dynamic, and teaser focuses on motion, action, and visual excitement more so than telling an extended narrative, so setting its vibrant tone. The full clip appeared in 9th January 2026 before releasing digitally. On the basis of information provided by DSP Media and as written in Korean press, “LOSE YOUR SHXT” should be considered as a wise pre-comeback decision engineered by YOUNG POSSE towards their single album to be released on 27th January 2026. But this song is not just a musical appetizer or something to hint you about the group’s international ambitions and BENZO from China hip‑hop scene because BENZO is a big figure there. The single has been composed specifically to try new sounds and show that they are versatile enough for fans before they launch a comeback with an even more ambitious musical style. Since the critics and media have been publishing their opinions about the single, they have been fascinated by its energetic and audacious form. On January 9, 2026, Star News Korea made a comment that the release “shows [their] boldness and readiness to win over an international audience,” and also stated it as an “unexpected song that comes before the official return, hinting on a more diverse musical path.” It has been observed that the humour and dynamic visuals used in the trailer also play a good role in expressing the theme of song humorously in addition to visually demonstrating freedom, energy as well as emotional exhortation without necessarily imposing a lucid story line. In summary, “LOSE YOUR SHXT” crystallizes YOUNG POSSE’s dedication to the bold and multi-cultural experimental art. Fusing high-energy hip‑hop bangers with K‑pop swagger, fronting it with visually playful storytelling, the group makes their 2026 comeback be a diverse, ambitious and internationally reaching product. It is a prelude, an announcement and a celebration of expressive freedom that finally places YOUNG POSSE among those groups that will not fear pressing the perceptual limits of contemporary K‑pop well into their fans’ attention globally in the ensuing months.

Ha Sung-woon , acclaimed South Korean singer under BPM Entertainment and ex-member of HOTSHOT together with project group Wanna One, will bring full swing to 2026 as he releases his much anticipated digital single, Tell The World. January 5th is the date set for the song to be out at 6 PM KST the announcement was made by BIGPLANETMADE Entertainment who also shared a teaser through their official channels. The teaser shows Ha Sung-woon in an environment where light and shadow interact which tells that his music will become more matured and it also depicts how much an artist can evolve. This release is of great importance being the first solo music of Ha Sung-woon in a year and six months, since his mini-album Blessed came out in July 2024. Marketed as a New Year’s gift to his hardcore fan base- ‘Haneul’, availability of the single does promise not only a come back to music but also an articulation of HANEUL’s artistic self. The narrative of Tell The World is introspective and symbolic, encapsulating the journey of someone who even with pains and hardship, takes step forward progressively into the world with hope – getting people to see their own light even in dark moments. Before releasing his debut single Ha Sung-woon held a “2025 HA SUNG WOON FANMEETING [Tell The World]” at Seoul’s YES24 Live Hall on December 30 and 31, 2025. At the end of the year fanmeeting, he was able to send the song to his audience in an advance position which resulted in a close and emotional moment of connection. It gave a chance for him to perform for both his music brand and fans, through singing his past hit songs such as I Wanna, BIRD, Mystery, Blue, and 촛불 with performances as well as fan interactions that take him from childhood Avenue through auditions debut and beyond. Types like the “하성운 키우기 게임 하린스 메이커” helped fans stay active on missions and finally appreciated the artist’s consideration of fan engagement. The world was able to witness the debut performance of Teach The World and concluding it with a very much moving message that was projected on-screen : “This song tells the hopeful story of someone who, despite being hurt and lost in darkness, slowly walks toward the world. It is my desire that all people find their own light even in the darkest of times.” This indeed affirms to what the song talks about which is hope, determination and self support system. Mature and contemplative aesthetic is visually the message conveyed by these materials of promotion. The teasers show Ha Sung-woon in front of mainly dark backgrounds lit dramatically with red hues, also subtle “ghosting” effects are used to depict the both intensity and dreamlike qualities. His styling (a bit tousled hairstyle along with the elegant, mature wardrobe choices) and his intense yet introspective gaze collectively accentuate an emotional depth that align the concept of the single. Light and shadow in these images work together to represent song’s narrative arc as it moves from darkness towards clarity which portrays a common human experience that everyone goes through; overcoming struggles and finding hope. Ha Sung-woon prior to Tell The World was able to maintain the interest of people by actively participating in different platforms. In the year 2025 only, he became a contributor in the following OSTs: 그때의 나에게 (To Myself Back Then), Ending Credit, Japanese animation theme song Finale., and 다시 첫사랑 (“First Love Again”) indicating that his insistent musical activity was unaffected by him not releasing a solo album. Apart from music, he was also kept engaged on YouTube where he started his own channel “하일병 (Hailbyeong)” with content and television shows such as 뭉쳐야 찬다 4 on JTBC or Steel Heart Club on Mnet so that he could foster fans' support and preserve his diverse nature in show business sector. Through Tell The World, Ha Sung-woon reintroduces new music and expresses himself through a blend of self-reflection, deeper fan engagement and artistic growth. The single stands as iconic of perseverance and renewal, telling a story of hope and strength to the listeners while it marks a significant step in his career development. So, while Sung Woon is about to usher 2026 through his Tell The World he together with his fans are promised to have an emotional yet sonorous beginning of the year.

ONE OR EIGHT doesn’t just arrive with a new single—they slam open 2026 with a track that feels like a full-body jolt. “POWER” marks the latest high-voltage chapter for the eight-member Japanese pop group rapidly staking their claim on the global stage, and it bottles everything that’s defined their journey so far: risk, ambition, and a refusal to do anything halfway. From their formation through WARPs DIG and early grind under Avex, to their official debut with chart-topping single “Don’t Tell Nobody,” ONE OR EIGHT have built their name on the idea of going all in. That “all or nothing” spirit—drawn from the Japanese idiom behind their name—runs straight through “POWER,” turning the song into both a victory lap and a fresh starting line. Long before this single, the group had already carved out a serious lane. After training under Avex and unveiling their lineup, they stepped into the industry with a pre-debut release of “KAWASAKI,” laying down the hybrid hip-hop and pop sound that would become their trademark. Their official debut on August 16, 2024 with “Don’t Tell Nobody,” produced by global hitmakers Ryan Tedder and David Stewart, lit the fuse in spectacular fashion. The single went on to hit No. 1 on the Billboard Japan Heatseekers Songs chart, a rare feat for a brand-new act and a clear sign that the global audience was watching. That momentum only intensified with “KAWASAKI (with Big Sean)” in December 2024, a collaboration that pushed them further into international territory as the track climbed to No. 5 on the U.S. iTunes Top Rap and Hip-Hop Songs chart and led to a historic appearance as the first Japanese group to walk the red carpet at the VMA. Each move wasn’t just a milestone; it was a signal that ONE OR EIGHT’s path would always lean toward bold, high-stakes bets. “POWER” feels like the natural evolution of that mindset. True to its name, the song is a hard-driving, high-energy pop banger crafted for motion—loud, kinetic, and built to be felt as much as heard. A muscular blend of bass, electric guitar, and brass underpins the track, locking into a rhythmic groove that practically drags the listener forward. Over that instrumental engine, the group layers an anthemic chorus that feels tailor-made for festival stages and arena singalongs, the kind of hook that sticks after a single listen. A dynamic rap verse slices through the arrangement, adding grit and texture while showcasing the group’s range: sharp flows, strong delivery, and a confidence that never wavers. The result is a track that captures ONE OR EIGHT’s signature intensity—bold, fearless, and unapologetically sure of itself. That intensity gains another dimension through the song’s tie-in with the TV anime Yoroi Shinden Samurai Troopers, where “POWER” has been selected as Ending Theme Song 1. The synergy between the series and the band is clear: both revolve around themes of resilience, courage, and pushing forward in the face of challenge. Within this context, “POWER” feels less like just a closing credit song and more like a rallying cry threaded through the story. The track doubles down on the group’s core message, “BET ON YOURSELF,” turning the ending theme slot into a megaphone for their ethos. For fans catching the anime in North America via platforms like Crunchyroll or Discotek, the song functions as a calling card—an invitation to step into the ONE OR EIGHT universe and feel the force of their music firsthand. At the heart of that universe are the eight members themselves: MIZUKI, NEO, REIA, RYOTA, SOUMA, TAKERU, TSUBASA, and YUGA. Their group name—rooted in the idiom “Ichika Bachika,” meaning “all or nothing”—is more than a clever reference; it’s a blueprint for how they move. Their sound fuses hip-hop and pop, layering sharp rap, melodic vocals, and an unmistakable performance style that leans heavily into street-informed choreography and fashion. That blend has helped them position Japanese pop not only for domestic success but as something that can stand shoulder-to-shoulder with the biggest names in global pop. Every new release becomes another turn of the dial from local to worldwide, and “POWER” is arguably their most direct broadcast yet. This single also lands at a pivotal moment in their career. With a Billboard Japan No. 1 debut behind them, a U.S. charting collaboration featuring Big Sean, and a history-making VMA red carpet appearance already under their belt, ONE OR EIGHT’s story could have easily slowed into a safer, more predictable trajectory. Instead, “POWER” hits like a statement that they’re only accelerating. The song channels the whirlwind of their journey—early training days, high-pressure auditions, global collaborations, and the weight of growing expectations—into three concentrated minutes built to rally both fans and newcomers alike. It’s a soundtrack for those willing to take risks, throw themselves into the unknown, and bet everything on the future they want. “POWER” is available now on all major streaming platforms, with a performance video that throws their intensity into sharp visual focus. For longtime supporters, it’s proof that the “all or nothing” promise is still very much alive. For new listeners hearing them for the first time—maybe at the end of an anime episode or via a recommended playlist—it’s an open door into a story that’s still very much being written. ONE OR EIGHT enter 2026 at full throttle, and if “POWER” is any indication, they have no intention of easing off the gas.

One Outta Ten is back with another chapter in their coming‑of‑age soundtrack, and this time, the spotlight is fixed on the fragile, loud, and beautifully messy side of love. “Distant Stars (Withstand)” emerges from the haze of Los Angeles as a plea, a promise, and a confession all at once—an indie rock love song that refuses to sugarcoat how hard it can be to hold on when life keeps testing the seams of a relationship. photo by: @nowlifeislivingyou on ig Known for capturing the confusion and triumph of growing up, One Outta Ten has built their sound on anthemic hooks, frenetic instrumentation, and lyrics that feel ripped from the margins of a journal you swore no one would ever read. This five-piece doesn’t just lean into chaos—they revel in it, wrapping unruly, smog-drenched surf rock riffs around earworm melodies that stick long after the last chord fades. Their music has always felt like the score to a coming-of-age film: turbulent, spectacular, and brutally honest about how hard it is to figure out who you are while the world keeps spinning. “Distant Stars (Withstand)” is introduced as a mirror to last Valentine’s Day’s release, “Two of Cups,” and that contrast is where the song’s emotional weight really hits. Where “Two of Cups” was an ode to an early, stable love—a warm, steady reassurance written from a partner’s point of view to soothe lingering anxieties—this new track flips the perspective entirely. This time, the anxieties aren’t being comforted; they’re taking center stage. “Distant Stars (Withstand)” feels like a prayer whispered into the dark, a desperate request to whatever forces might be listening: let this love survive what life is about to put it through. At its core, the song is about choosing the long road. It’s a reminder that the kind of love worth keeping is rarely effortless, and that the moments of doubt, distance, and pressure are not signs to give up, but invitations to work harder together. The narrator isn’t just asking their partner to stay; they’re asking the universe to give them the strength to withstand everything that could pull them apart. The image of “distant stars” becomes a powerful metaphor—the dream of being adored by the world, of chasing fame and recognition, weighed against the intimacy of a singular, irreplaceable love. In that trade-off, the choice is clear: all the spotlight in the world means nothing compared to keeping the person who makes the chaos bearable. “Distant Stars (Withstand)” also serves as a gateway into One Outta Ten’s upcoming album, a project shaped by the band members’ different stages of their own relationships. Some are holding onto long-term love, some are navigating change, and others are reckoning with the ghosts of what used to be. That spectrum of perspective gives the record its emotional backbone. The album is built around the thesis captured in the word “kenopsia”—“the eerie, forlorn atmosphere of a place that’s usually bustling with people but is now abandoned and quiet.” It’s a concept that fits heartbreak perfectly: the way a familiar space, song, or street can suddenly feel hollow when the person you shared it with is no longer there. Across this new era, One Outta Ten isn’t shying away from that ache. Instead, they’re leaning into it—writing about missing the person you used to love, the version of yourself that existed with them, and the echo of what once felt permanent. “Distant Stars (Withstand)” stands as a loud moment in that reflection, not a quiet lament. It’s a declaration that even in the face of potential loss, there is power in choosing to fight for what matters. The guitars crash, the vocals soar, and beneath all that volume is a simple, vulnerable truth: “I would give up the dream of being loved by the world if it means I get to keep loving you.” For all its emotional depth, the band is clear about what they hope listeners take away. They want this to be a song people can actually use—a track you turn up in the car, scream along to at a show, or send to the person who means everything to you when you don’t quite know how to say it yourself. In their own words, they hope people see “Distant Stars (Withstand)” for what it truly is: a nice, loud love song you can dedicate to your partner. And in classic One Outta Ten fashion, it’s also more than that—it’s another page in the ongoing story of growing up, holding on, and finding something worth withstanding the storms for.

idntt just cranked the volume to MAX with their explosive new mini album " yesweare " and title track " Pretty Boy Swag "—fans, this is the confident, in-your-face evolution you've been screaming for since the very first teaser dropped! The K-Pop boy group -- consisting of Lee Cheongmyeong, Han Yejoon, Towa, Kim Seongjun, Choi Gyeongbeen, Park Nuri, Hwang Eunsoo, and Lee Kyuhuk -- under MODHAUS isn't just releasing music; they're unleashing a full-throttle identity takeover that smashes together the original unevermet crew's electric spark with the blazing arrival of the yesweare unit, all charging toward their ultimate 24-member domination as itsnotover. This isn't filler playlist noise—it's YOUR generation's battle cry, the soundtrack to owning every single strut, stare, and spotlight moment, with idntt shoving the mic straight into your hands so you can scream it back louder than ever.​ photo courtesy of MODHAUS If unevermet had fans buzzing with that addictive thrill of random encounters and fresh starts—like fate throwing you into the deep end of possibility—then yesweare  flips the entire script into pure, unapologetic YOUTH EXPLOSION. "We ARE youth itself" pulses as the raw heartbeat of every track, a defiant middle finger to anyone whispering "tone it down" or "grow up too fast." From day one, you've been right there riding shotgun as idntt expands, sharpens their edges, and barrels toward that full 24-member formation, pulling YOU deeper into their ever-growing universe with every beat drop and breakdown. This mini album rejects being wallpaper—it's the relentless anthem for living at full blast, staring down the world without flinching, and strutting life's runway like the entire planet's your personal catwalk.​ The album crashes open with " BOYS ", a straight-up declaration of war on anything boring or basic, its electronic-driven pulse slamming like pure adrenaline injected directly into your veins—racing synths slice through pounding kicks that make every fan feel like they're storming the stage barricade themselves, igniting idntt's youth rebellion from the split-second the play button hits. Without a breath, it flows into " Yes We Are ", the track that locks in the yesweare  unit's unbreakable identity like a mirror held up to your own fire—crisp production layers soaring hooks that scream "this is who we are, deal with it or step aside," delivering the electric moment where longtime unevermet loyalists finally lock arms with the new crew and watch the whole group snap into hyper-focused power right before your eyes.​ Right then, " Pretty Boy Swag " detonates as the undisputed title track juggernaut—a bass-heavy, guitar-shredding, brass-blasting beast where all 15 members unload emotionally charged vocals over a rhythmic groove so viciously infectious you'll feel it rattling your ribcage. The dynamic group choreography weaponizes every performance into a visual apocalypse, sharp angles and flawless synchronization carving through space like lightning while the relentless rhythm dares you to match their energy or get swallowed whole—fans, this is the 2AM bedroom banger, the mirror-dance obsession, the live-show voice-killer that's less a song and more your full personality overhaul.​ The momentum doesn't falter as " Rage Problem " seizes that building fire and channels it into electronic dance music nirvana, twisting raw frustration into fist-pumping catharsis where distorted drops and endless builds recreate the exact second youth snaps back against every pressure point—it's the scream you've been bottling since the first chorus hit, handed to you on a silver platter to unleash without mercy. Capping the ride, " Moon Burn " steals every last drop of late-night fuel with its jackin' house inferno, bouncy basslines and hypnotic grooves converting bedrooms into throbbing clubs—the kind of brain-burrowing beast that has you jacking involuntarily hours later, idntt's signature heat still smoldering as fans worldwide start chanting for an encore before the final note even fades.​ photo courtesy of MODHAUS These five tracks don't just populate an album—they shatter it into a living, breathing universe where unevermet collides with yesweare  for the first time ever, handing fans the ultimate front-row ticket to idntt's real-time growth spurt. Every engineered beat, gut-punch lyric, and precision breakdown feels custom-built to make YOU—the day-one believers who turned hype into a movement—feel hyped beyond reason, seen in every bar, and locked & loaded to storm whatever comes next alongside them.​ idntt under MODHAUS was engineered for extraordinary from the jump—kicking off with unevermet's spark, surging through yesweare's fire, and hurtling toward the full 24-member apocalypse of itsnotover—and they're dragging their universe wider right there with YOU in the front lines. " yesweare " isn't music; it's a blood oath that idntt only gets bigger, fiercer, and more addictive by the second. So blast that chorus until your speakers weep, drill the point choreography into muscle memory, tag your squad, flood the timelines—your new obsession just evolved into the beast you can't look away from.

JOOHONEY DROPS THE BOMB: 光 (INSANITY) IGNITES A FEARLESS NEW SOLO ERA THAT FANS HAVE BEEN SCREAMING FOR MONBEBEs, get ready to LOSE IT—JOOHONEY just unleashed The 2nd Mini Album 光 (INSANITY), and it’s the gut-punch, heart-exploding, arena-shaking masterpiece that proves he’s not just a MONSTA X legend anymore… he’s THE solo force rewriting K-pop history! This isn’t a comeback. This is JOOHONEY grabbing every fear, scar, and wild impulse by the throat and turning it into pure, blinding light—for you, the fans who’ve lit up his world from day one. Released January 5th from Los Angeles, this 7-track firestorm is his most raw, instinctive, and unapologetically HIM project yet, and it’s built like a love letter to every fan who’s ever chanted his name through the chaos. “Only by going mad do you truly shine” isn’t just a concept—it’s JOOHONEY’s battle cry, and fans are living it with him. Since his explosive 2023 solo debut LIGHTS , he’s been stacking the blueprint: rap that cuts like a blade, vocals that soar into your soul, performances that leave stages in ruins. Now, 光 (INSANITY) cranks EVERYTHING to 11. JOOHONEY didn’t just write and compose every track—he poured his entire evolution into them, colliding the reckless fire of his youth against the unbreakable steel he’s forged as an artist. Fans, this is YOUR front-row seat to that explosion: the impulsive kid who dreamed big versus the global icon who delivers EVERY time. The result? A luminous rebirth that screams, “I’m here, I’m real, and I’m doing this FOR US.” " STING" (Feat. Muhammad Ali) is the crown jewel that’ll have you JUMPING out of your seat—picture this: pop-hip-hop fury meets Muhammad Ali’s immortal “float like a butterfly, sting like a bee,” fused with JOOHONEY’s razor-edge flow that turns every wound into a weapon. He’s been the bee his whole career—quick, lethal, unforgettable—and this track refines that sting into something fans will SCREAM word-for-word at shows for years. It’s proof of existence through pain, a middle finger to doubt, and the ultimate hype track for anyone who’s ever risen from the mat swinging harder. MONBEBEs, this is YOUR anthem to blast on repeat, dedicate to your struggles, and let echo through sold-out domes. “Push (Feat. REI of IVE)” already had fans spiraling with its raw expose of relationship fractures—now the full album dives DEEPER into those cracks, pulling you into JOOHONEY’s inner storm. “Gwang” warps light into madness like a fever dream you can’t escape. “Fear” cranks the tension between anxiety and rage until it snaps. “Bite” unleashes pure, unrestrained hunger that’ll make your pulse race. “Touch the sky (Feat. Tiger JK)” rockets you upward with limitless fire, Tiger JK’s legend-level energy colliding with JOOHONEY’s ambition like gods trading bars. And “NO BRAIN NO PAIN” lands the knockout blow—a eerie, post-storm calm that leaves you breathless, staring at the light you both earned. Every track is a chapter in this emotional gauntlet, but together? They’re a victory lap for fans who know JOOHONEY’s journey because they’ve been riding shotgun the whole time. The visuals CRANK the hype to god-tier: a chaotic, scribble-surrounded younger JOOHONEY stares down his present-day powerhouse self in front of MASSIVE speakers. BOOM—the clash ignites creation itself. Fans, this is US: the wild Monbebe energy of old meeting the unbreakable army we’ve become. JOOHONEY didn’t erase his past—he weaponized it, transformed it, and handed the glow to YOU. Stream it, watch the MV, download the press shots, and flood your feeds—because this is the moment solo JOOHONEY cements his throne, and we’re all shining brighter for it. MONBEBEs + #SoundLovers worldwide, JOOHONEY built this for YOU—let’s make it echo forever. 🐝✨

Orelsan launches a new chapter of his career with La Fuite En Avant , a multi-dimensional project that ties together music, cinema, and an ambitious new tour into one sweeping narrative about upheaval, transformation, and growing up without losing yourself. The multi‑diamond‑certified French rapper, already a defining voice of the past two decades with over three million albums sold and landmark projects like La fête est finie  and Civilisation , now turns the page with his fifth studio album and its cinematic counterpart, Yoroï , pushing his storytelling further than ever. La Fuite En Avant  (translated as “The Headlong Rush”) is a dense, deeply personal body of work crafted with longtime collaborators Phazz, Eddie Purple, and Grammy‑winning producer Skread. Across its 17 tracks, Orelsan confronts the kind of life shifts that redraw your entire map: friendship under pressure, burnout, relationships stretched thin, pregnancy, and the emotional whiplash of becoming a father. The album is built like a continuation of the story explored in Yoroï —not just a soundtrack, but an extension of its emotional universe, where music and visuals mirror and amplify each other. Each song feels like a chapter in a larger narrative, blurring the lines between confessional diary entry and cinematic monologue. That ambition is mirrored in the album’s collaborations, which bridge cultures and genres without ever losing Orelsan’s signature voice. On “Plus rien,” he invites Lilas—also known as ikura from the acclaimed J‑pop duo YOASOBI—into his world, fulfilling what he describes as a dream partnership with one of his favorite vocalists. He praises her as his favorite singer in the world, admiring not only her tone but her flow and versatility, whether she’s performing as ikura or as Lilas the singer‑songwriter. For her part, Lilas describes being “truly overjoyed” by his heartfelt invitation, accepting immediately and expressing how honored she feels that her voice can live alongside his story in this song. This cross‑border collaboration is designed not as a one‑off novelty, but as a genuine artistic meeting point meant to resonate across languages and borders. On “Oulalalala,” Orelsan further expands that global reach by teaming up with South Korean group FIFTY FIFTY, whose hit “Cupid – Twin Version” has amassed over 900 million streams and become one of the most‑played K‑pop girl group songs on Spotify. The collaboration emerged at a moment of serendipity: Orelsan had their track “Pookie” on repeat just as he and his team were searching for a feature to integrate into the Yoroï  film for the Rokurokubi yōkai scene. When Sony Music brought up FIFTY FIFTY as a possibility, it felt less like business and more like fate. The group, in turn, describes feeling truly honored to be part of Orelsan’s soundtrack, emphasizing how his artistry and storytelling inspired them and how this project allowed them to explore new sonic colors while delivering a different layer of FIFTY FIFTY’s sound to a global audience. The international scope doesn’t stop there. La Fuite En Avant  also includes an unprecedented collaboration with Thomas Bangalter, the legendary producer best known as one half of Daft Punk, on the track “Yoroï.” Local heavyweights complete the cast: Yamê—one of France’s breakout artists of the year with tens of millions of streams—joins on “Encore une fois,” while SDM, a major figure in French rap boasting over a million albums sold, appears on “Soleil levant.” These features sit alongside a career‑long list of high‑caliber collaborations, with Orelsan’s past work including Pharrell Williams, The Neptunes, Dizzee Rascal, Cordae, Stromae, Gims, Angèle, and Ibeyi, underscoring his status as one of France’s most creatively connected artists on the world stage. Orelsan’s deep connection to Japanese pop culture runs like a spine through this entire era. A long‑time fan of manga, anime, and video games, he even lends his voice to Saitama in the French dub of One Punch Man , and his stage name itself nods to Japanese influences. With Yoroï —Japanese for “armor”—he pushes that love into new territory. Co‑written with David Tomaszewski and released in theaters across France, Belgium, and Switzerland, the film follows Aurélien (Orelsan) at the height of his career as he leaves France for Japan with his pregnant wife, Nanako. In their new home, he discovers an ancient suit of armor. Once he puts it on, he can’t remove it, and the armor forces him into direct confrontation with his fears, which manifest as powerful yōkai, mystical beings drawn from Japanese folklore. This journey—part supernatural trial, part psychological odyssey—guides him toward becoming a wiser man and embracing fatherhood. The tracklist of La Fuite En Avant  reflects that narrative arc, moving from pacts and distance to monsters and epiphanies: Le pacte Plus rien feat. Lilas Ailleurs Boss Deux et demi Osaka Encore une fois feat. Yamê Internet Dans quelques mois Oulalalala feat. FIFTY FIFTY Tellement d'amis La petite voix SAMA Soleil levant feat. SDM Les monstres Epiphanie Yoroï with Thomas Bangalter Each title hints at a different facet of the journey—geographic and emotional distance (“Ailleurs,” “Osaka”), digital noise and isolation (“Internet”), anticipation and uncertainty (“Dans quelques mois”), inner demons (“Les monstres”), and hard‑won realization (“Epiphanie”). Together, they map out the “headlong rush” of a life in motion, sprinting forward while still haunted by questions that can’t be outrun. This universe doesn’t end with the album and the film. It extends onto the stage as the third act of the project. With 300,000 tickets sold in just 24 hours, more than 40 dates already announced, and a staggering 10 consecutive shows booked at Accor Arena in Paris for December 2026, Orelsan’s upcoming tour is set to transform La Fuite En Avant  and Yoroï  into a full‑scale live experience. For fans, it promises not just a concert, but immersion into a world where armor, monsters, love, and self‑reinvention collide—proof that even at the peak of success, Orelsan is still willing to take risks, confront himself, and rush headlong into the unknown.

New Year, New Artist, More Energy felt less like a theme and more like a promise that kept cashing out all night long, and the fans were the heartbeat that made every moment hit harder. The second you stepped into RENDEVOUZ in Duluth on January 3, 2026, you could feel it in the way people rushed to find their friends, compared outfits, and clutched lightsticks and cameras like they were gearing up for a once-in-a-year celebration that refused to end at midnight. The hosts, Hanyang Society and INVASIAN , didn’t just throw a show—they curated an experience that made every fan feel like they were an essential part of the story, not just spectators. The night kicked off on an intimate note with the VIP meet and greet, where fans lined up with buzzing nerves to see SAM SUEN, BACHYARD GHOST, Toshi, Jjang.E, JUNOFLO, and Justin Park up close. There was a softness in the room as fans exchanged shy smiles and bolder ones jumped straight into conversation, sharing how certain songs got them through tough days or long nights. The artists gave that energy right back—posing for photos, laughing at inside jokes, and taking the time to really listen. It felt less like a transactional moment and more like a reunion between artists and the people who have been cheering them on from behind screens for years. When the VIP portion wrapped, fans stepped out for a moment, but the energy never dipped—it simply shifted. As staff reset the space, special guest DJ Tommy Yoo, better known to many as imyoonotyou , took full control of the room and flipped RENDEVOUZ into party mode. The second his set started, the venue turned into a pulse of bass and color, with fans walking back in and immediately bouncing to the beat, waving at artists across the room, throwing their arms around old friends, and hyping up strangers as if they’d known them for years. Once the lights shifted again and the concert truly began, SAM SUEN hit the stage like a starting gun, slamming his foot on the gas from the first note. The second “ Late Night ” dropped, the room locked in—fans shouting, hands up, bodies moving as if they’d been rehearsing this moment all week, and by the time he flowed into “ Call Me Baby ,” it felt less like an opener and more like a headline moment. Every hook landed, every ad-lib rode perfectly over the crowd’s noise, and with each song, the cheers only grew sharper and louder, not because he needed the validation, but because the audience knew they were watching an artist rise to match their energy. BACHYARD GHOST came next, and if SAM lit the fuse, BACHYARD GHOST detonated the room. The beat for “ AKIRA ” dropped and suddenly the floor was alive—fans jumping in unison, hands punching the air, a chain reaction of energy that traveled from the front of the crowd to the back wall. When he rolled into other tracks such as “ woke up ”, the crowd didn’t just watch; they participated. Every time he signaled, screams ripped through the venue, and when he called for call and response, the audience fired right back, roaring his words until their voices blurred into one massive, single sound. This was the point where the concert stopped feeling like separate performances and started feeling like a shared, collective high. Then the vibe took a beautifully intentional turn as Toshi stepped onto the stage. Known for his effortless presence and the sincerity he carries in every note, he opened his set by admitting he felt a little nervous now that it was his turn. That honesty only made the room lean in closer. He took a moment to acknowledge something that rarely gets said out loud: everyone came for different artists. Instead of seeing that as a challenge, he embraced it and promised a set that would make everyone feel included, no matter who their original bias was. What followed was less a setlist and more a love letter to the music that made him who he is. When he sang DEAN’s “ I’m Not Sorry ,” you could hear fans belting the lyrics out with him; during keshi’s “ WANTCHU ,” the mood softened as people swayed and filmed, wanting to bottle that moment; and when he hit NewJeans’ “ ETA ,” the energy picked back up with fans chanting and echoing the melody. He closed with his own rendition of “FREE” from K-Pop Demon Hunters, and that’s where his voice truly took over the room—smooth lower range, then soaring higher notes that seemed to hang in the air for just a second longer than expected. The crowd responded with cheers that felt more like gratitude than just hype. Right when emotions were at a high, Jjang.E took us even deeper into that space with a set carved out for the ballad-lovers in the room. On paper, “sad songs” might sound like a slowdown, but in that moment, it felt like everyone was ready to breathe together. Having debuted onstage back in January 2025 at Believe Music Hall, he brought the kind of growth you only get from sitting with your craft and evolving in real time. He shared his admiration for traditional ballads, and you could hear that influence in every phrase he sang. When he performed Lee Mujin’s “ Rain and You ,” the room cheered him on admiring the artist that was being created with every new stage. Before closing his set, he asked fans if they had ever built a snowman, a simple question that pulled smiles and soft laughter from the crowd, then drifted into “ The Snowman (눈사람) ” by Jung Seunghwan. His tone was precise, emotional, almost perfectionist—but never cold. The final notes rang across the venue, and fans kept cheering long after the song ended, not ready to let that warmth go. Just when you thought the emotional intensity might level out, JUNOFLO charged in and flipped the switch back to full blast. He immediately waved fans closer, refusing to let there be any distance between performer and crowd. His set felt like a victory lap: fan favorites like “ HUNNED% ” and “ They Don’t Want This ” shook the room, pushing people to jump, shout, and rap along where they could. Then he shifted the tone with a string of unreleased tracks that felt like a preview of the future, including “ Kawasaki ,” which hit with the kind of power that makes you imagine it blaring out of speakers in a packed car at 2 a.m. He introduced one track as what he’d consider his theme song if he ever became a villain—“BADMAN”—and suddenly the room turned into his anthem factory as he had everyone echoing “ BADMAN ” back at him on the chorus. The call-and-response boomed so loud it felt like the walls were singing too. When he brought out special guest JAEYOUNG for “ Activated ,” the entire audience shifted into another gear: people jumped in sync, heads bobbed to the beat, and the collective vibe was nothing short of “we’re locked in right now.” To close out the RENDEVOUZ portion of the night, Justin Park stepped in with the perfect blend of chill, groove, and emotional payoff. He started with “ Adore You, Dior You ,” and you could immediately tell who had been waiting for this moment—the fans who screamed from the first note, the ones who lifted their phones with shaking hands to capture every second. As he moved into “POV,” “ FASTEST ,” and more, the room swayed like one giant wave. Some fans danced with friends, others sang at the top of their lungs. When he ended with “ On the Low ,” it didn’t feel like an ending as much as a last shared exhale, a final chance to dance it out and lock the memory in. The lights, the voices, and the smiles painted a picture of a night that hit every emotional note without ever losing its sense of fun. But the party didn’t stop there. As fans and artists made their way from RENDEVOUZ to the after party at Illuminarium, the night evolved into something even bigger: a full-body, immersive continuation of the celebration. Walking into the LED room felt like stepping into another dimension. The walls themselves were alive with color and moving visuals, wrapping everyone in a 360-degree experience that took the concept of a “party” and cranked it past ten. DJs KUYA , DJ Chen, Ben Kang , IMYOONOTYOU, and WESTNINE! rotated through the booth, each putting their own spin on the night with mixes designed to keep bodies moving and lungs working overtime. One moment you were shouting along to a chorus, the next you were lost in a beat drop that made the whole room feel like it was vibrating in sync. The best part? The artists weren’t done either. Sam, BACHYARD GHOST, Toshi, Jjang.E, JUNOFLO, and Justin Park stepped in for a short segment, giving fans who missed the earlier performances another chance to catch that magic and rewarding those who followed them from venue to venue with extra memories. Attendees danced, sang, jumped, and cheered even louder, determined to wring every last ounce of joy out of the weekend. By the time the night finally began to wind down, one thing was crystal clear: this wasn’t just a show or a party—it was a New Year’s celebration stretched into an entire experience, proving that with the right artists, the right community, and the right energy, the feeling of ringing in the New Year doesn’t have to end when the clock strikes midnight. It can linger, echo, and live on in every replay, every photo, and every “remember when” shared between friends long after the lights go out.

The energy inside Atlanta’s venue on December 18 felt electric from the very first moment. Hidden KARD packed the room wall to wall, lightsticks raised and voices already warmed up long before KARD stepped on stage. There was an unmistakable sense of excitement in the air — not just because it was another tour stop, but because this night felt personal. As the opening beats hit, it became clear that Atlanta was ready to give everything they had, and KARD was more than ready to match it. KARD opened the night with “ Touch ,” easing fans into the set with smooth vocals and controlled confidence. The crowd immediately locked in, swaying and singing along as the members moved effortlessly across the stage. Without losing momentum, they dove straight into “ ICKY ,” igniting the room with bold choreography and attitude. Cheers grew louder as fans jumped in time with the beat, feeding off the group’s energy. When the familiar intro to “ Oh NaNa ” began, the venue erupted. Celebrating nine years since its release, the song felt like a shared milestone between KARD and Hidden KARD. Voices rang out loudly, some nostalgic, some emotional, all unified. In the middle of the chaos, BM took notice of a particularly hyped group of fans jumping and shouting “AYE” without missing a beat. Laughing and pointing them out, he encouraged them even more, turning their joy into a moment the entire venue could feel. It was pure celebration, the kind that reminded everyone why KARD’s music continues to resonate years later. The night continued with “ Hola Hola ,” “ Top Down ,” and “ Before We Go ,” each song bringing a different shade of KARD’s sound. The transitions were smooth, the performances confident, and the chemistry between the members undeniable. As the music paused for a brief talk segment, the members took a moment to connect with the crowd, and the sincerity in their words made the night feel even more intimate. Somin shared honestly, saying that they had been a bit tired earlier, but the energy from the crowd completely revived them, thanking fans for saving them. J.Seph followed, comparing Hidden KARD to doctors, explaining that despite expecting to feel exhausted, the overwhelming energy from the audience had him feeling stronger than ever. When BM turned to Jiwoo and asked how she was feeling, her response drew laughter from the entire room. She admitted she was scared, joking that even though they had sung a song meant to cool things down, they were far from cooled off and she was already sweating. J.Seph added another playful comment, teasing that HIDDEN KARD’s powerful energy had practically taken off her eyelashes, pointing out his own bandage and joking, "You see my bandage? You can take that off, too, right?" followed by his own beaming smile and mischievous chuckle. The crowd roared, loving every second of his natural charisma. The show kicked back into high gear with “ Ring the Alarm ” and “ RED MOON ,” both delivered with intensity and sharp precision. The stage lighting deepened, matching the dramatic tone of the performances as the crowd shouted along to every chorus. A shift in focus came as BM took center stage for his solo performances. “ Freak ” and “ Ooh ” showcased his unapologetic confidence and commanding presence, drawing loud cheers and playful reactions from the audience. The energy remained high as BM and J.Seph reunited for “ Been That Boy ,” their chemistry undeniable as they owned the stage together. The atmosphere shifted as Somin and Jiwoo took the stage for “ ENEMY .” The performance was powerful and emotional, highlighting their vocal strength and connection. The mood lightened with a short charades game, splitting the members into teams of BM and Somin versus J.Seph and Jiwoo. After J.Seph won rock, paper, scissors, he stepped back and allowed BM and Somin to go first. Their teamwork paid off with six correct answers, earning cheers from the crowd. Not to be outdone, Jiwoo flawlessly acted out her words, making it easy for her and J.Seph to secure the win. The playful competition gave fans a glimpse into the group’s dynamic off-mic, full of laughter and natural charm. It was followed by a festive surprise with a cover of Wham!’s “Last Christmas,” bringing smiles, laughter, and sing-alongs throughout the venue. Momentum surged again with “ Pivot ” and “ SPIN ,” bringing sharp choreography and relentless energy back to the forefront. Before the final stretch, BM took a moment to remind Hidden KARD that Jiwoo would be the next member to release a solo album, asking if she could give a small spoiler. Jiwoo shyly shared that her album is planned for late January to February, sending the crowd into excited cheers and anticipation. As the night moved toward its finale, “ GUNSHOT ” hit with full force, commanding the room with its intensity. “ Bomb Bomb ” followed, turning the venue into a bouncing wave of movement, before “ Cake ” added a playful yet confident twist. The night reached its explosive conclusion with “ Dumb Litty ,” the perfect ending that left fans shouting, jumping, and refusing to let the energy fade. During the final ments, BM shared that with member solo projects coming soon and another album following, fans might have to wait a little longer, apologizing sincerely. Somin closed the night with heartfelt words, saying that the worries she had before stepping on stage disappeared the moment she saw the crowd. She thanked Hidden KARD for allowing her to finish 2025 together with them, wishing fans strength through their hardships and hoping the new year would bring only laughter and brighter days. As KARD took their final bow, Atlanta’s cheers lingered long after the lights dimmed. For Hidden KARD, this was a night filled with memories, laughter, and the comforting reminder that KARD’s bond with their fans continues to grow stronger with every stage. FULL GALLERY Now LIVE!

A new year brings new beginnings—and for RE:GUYS , it marks an exciting chapter of growth, music, and connection. RE:GUYS, formerly known as GreatGuys (멋진녀석들), consists of Yeongki , Jinhyeon , Donghyun , D.I , Daeyoung , Minki , and Semin . While their journey began August 25, 2017 with nine members under DNA Entertainment, the group has grown, evolved, and now steps forward under a new name. Reintroducing themselves with fresh energy and a renewed identity, the group is ready to share music that comforts, inspires, and resonates with everyday life. With each member contributing their voice, creativity, and personal touch, RE:GUYS are redefining what it means to start anew while staying deeply connected to their fans. For anyone discovering them for the first time, this is an invitation to join Yeongki, Jinhyeon, Donghyun, D.I, Daeyoung, Minki, and Semin on a journey filled with music, growth, and moments meant to be shared—together. To kick off this new chapter, RE:GUYS share their story, creative process, and vision for the future in their own words. K Fuse: For those of you meeting for the first time, please introduce yourself as RE:GUYS. "Hello! 'Our story to be rewritten'—RE:GUYS! We are a team where members of different colors come together to create a harmony. We are here to bring pleasant energy into your daily life." K Fuse: How would you describe the music and style of RE:GUYS to a first-time listener? "We want to describe our music as 'comfort.' We interpret the catchy melody in our ears and everyday emotions that anyone can relate to in a trendy sound. We aim for a style like 'playlist regular song' that doesn't feel too heavy but keeps wanting to hear it again." K Fuse: What do you think is unique about RE:GUYS? "All members directly participate in songwriting or performance composition. Our strength is that we feel the charm of authentic 'raw' because it contains the story we really want to tell, not just digesting what is given." K Fuse: What is the origin of the team name 'RE:GUYS' and what is the meaning of it? "RE: means 'Again.' It means 'young people who are ready to start again at any time,' and promises to always 'respond' to the fans' love. For us, this name symbolizes 'initial' and 'connection.'" K Fuse: What emotions or thoughts do you want listeners to sympathize with when making music? "I hope you feel like you're not alone. It's good to listen to music that makes you more excited when you're happy, but after a long day, it's our goal to share the sympathy of patting on the back: 'I've done that too.'" K Fuse: How do you approach telling a story or expressing yourself through a song? "We start by unfolding 'Memories of the Past.' Rather than a big message, we express trivial moments, like a conversation we had with a friend yesterday or thoughts while looking out the window. We believe this brings us closer to the hearts of those who listen and enjoy it." K Fuse: How is the chemistry between the members? "In a word, it's like a 'puzzle.' We have different personalities and tastes, but they fit perfectly when we stand on stage or gather in a practice room. We usually play like brothers, but when we work, we maximize each other's strengths like ghosts." K Fuse: What does it mean to each person to work together as RE:GUYS? "It's like having a 'virtue' walking with me on a path I would have feared alone. We feel like complete artists in the team called RE:GUYS because we make up for each other's shortcomings." K Fuse: What can the audience expect from the stage of RE:GUYS? "It's a sense of immersion that you can't take your eyes off. Beyond simply dancing and singing, we aim to show a shocking energy so that the joy we feel on stage reaches the back row of the audience." K Fuse: Vocal, choreography, or communication with fans, what do you think is particularly important? "I can't miss any of them, but the most important thing is sharing them with the fans. No matter how perfect the song and dance are, it's meaningless if we can't connect with the audience. The moment we exchange energy with our fans on stage is the most precious to us." K Fuse: What kind of relationship do you want to build with fans you're just getting to know? "I want to be like a long-time friend, not a distant celebrity. Please watch our growth from the side, and we also want to become a piece of your life and grow together." K Fuse: How do you want people to feel after watching a performance or a song? "Even a little courage to say, 'I'm also a precious being.' If a small smile spreads across someone's face after our influence, we'd be happy enough." K Fuse: As RE:GUYS, what activities are you most looking forward to showing next? "Our first solo offline performance as RE:GUYS! We're waiting for the moment to finish our military service safely and show our new performance while hearing the cheers of the fans." K Fuse: What do you want people to experience from this moment on the journey of RE:GUYS? "I hope you feel the joy of growing up together. We will do our best to make the whole process a wonderful memory and source of pride for you, from our clumsy start to the moment we stand tall on top! I love you 💞" With a fresh identity, new music in the works, and a renewed connection to their fans, RE:GUYS are poised to make this year unforgettable. Their journey is not just about songs or performances—it’s about growth, togetherness, and sharing authentic moments that fans can feel and relate to. For those just discovering the group, RE:GUYS invite you to join them in celebrating a new beginning, one that promises energy, empathy, and the joy of starting again—together.