Category: pop music

A sea of rainbow flags and the arms of queer youth sway to the beat during Hayley Kiyoko’s recent Los Angeles performance of “Girls Like Girls.” Fans sing along, cry, and hug each other. For many of them, this concert is the only place they feel like they can truly be themselves.

In June 2015, when Kiyoko released her self-directed video for “Girls Like Girls,” the world was a different place, and queer women didn’t really have a space in pop music or very many spaces at all. Now, two albums and seven years of hard work later, Kiyoko has carved out a space for lesbian and queer women like her to not just live but to thrive.

The 31-year-old performer is also in a different place. She’s in love, matured as an artist, and recently released Panorama, her most personal and mature album yet. The artist affectionately dubbed Lesbian Jesus by fans wasn’t just born, she was self-made.

Kiyoko says it took her a long time to get over the negative connotations she felt with the word lesbian, which has now become nearly synonymous with her brand. For a long time, she identified as gay rather than use the L word. But that changed as she grew as a person. Kiyoko believes that both words and people go through many transformations in their lives, and that society should better accept the multitude of ways to be a lesbian. “A lesbian doesn’t look just one way. A lesbian isn’t ‘x, y, and z,’” Kiyoko emphasizes. It’s so many, so many things.”

MAISON VALENTINO black lace top and leggings from FWRD; F + H JEWELLERY necklace, earrings, ring; JEFFREY CAMPBELL boots

Shattering stereotypes is part of this journey, particularly harmful ones that members of this community are transphobic. I think that it’s been really hard to break those stereotypes and stigmas that society has just placed on so many people that have been unwarranted and unwelcome, she says. So we’re getting rid of those, hopefully, as more people learn to love themselves and exist and change the way others see one another.”

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“I think being a lesbian has been such a journey, and I’ve always known I was a lesbian since I was 5,” she adds. “So I’ve really grown a wonderful relationship with that word, knowing that being a lesbian is powerful, being a lesbian is beautiful, being a lesbian looks many ways. And it’s been exciting to reclaim that word and what that means to me and what it means to the world, truly.”

Another relationship she’s grown is one with Becca Tilley, a former contestant on The Bachelor. The two came out this year as a couple of four years when Tilley made a cameo appearance at the end of Kiyoko s “For the Girls” music video. Their relationship has impacted Kiyoko’s creative journey. Panorama is the first album she’s written since she began dating Tilley, whom she first met at her Expectations album release party in 2018.

Recently, Tilley even joined Kiyoko on tour. “As an artist, you’re influenced by your life experiences,” she says. “And I’ve been really grateful to experience true love and a healthy, incredible relationship. 
And Kiyoko is spreading that queer joy. Kiyoko says performing “Girls Like Girls” — which she plans on doing at every show for the foreseeable future — is still just as electric as it was when it first came out in 2015. “It’s just such a special moment in my show and a moment for my fans to just celebrate themselves in an unapologetic, safe space,” Kiyoko says. “And I look forward to that moment every time I do a show. And I’m just very grateful for my fans, for always showing up for me, because I wouldn’t be able to dream without their support.”

She’s more thankful now than ever before. As right-wing politicians launch political attacks on LGBTQ+ people, Kiyoko s concerts have become a refuge where queer people can come to fully be themselves. “It’s so important to create safe spaces for people to celebrate themselves and to love themselves and to grow their self-love,” she says. “Because so many queer people in our country and in the world live in a place where they’re not safe to be who they are, or safe in their work environment or in school.”

MUGLER red jumpsuit from FWRD; RAVEN FINE JEWELERS cross earrings 

In recent years, the number of other pop artists who are sending the same empowering message has grown exponentially. It used to be that just a few artists among them, Kiyoko, Janelle Monáe, Kehlani, Halsey, and Tegan and Sara — were singing about sapphic love on pop playlists. Today, dozens of singers and bands like Muna, Fletcher, Zolita, Carlie Hanson, Rina Sawayama, Chloe Moriondo, Rebecca Black, the Aces, Sarah Barrios, King Princess, and Dove Cameron are making music that revels in the joy of being queer and loving women.

“It’s been incredible. I think that it’s long overdue. And I’m so grateful that we are normalizing our queerness in mainstream and in pop music,” Kiyoko says. “Growing up, I never could have imagined I’d have the opportunity to sing about women so boldly and still chase my dreams of being a pop star and to be mainstream. And it’s been an incredible journey and ride. And a win for one is a win for us all in just moving the needle forward in representation.”

Kiyoko sees this joyful tone as a welcome shift from the sadder lesbian songs of yesteryear. “It seems as though there is more space for us to celebrate our wins and our joy and our happiness,” she says. She points out that queer artists have always written about joy; it just wasn’t always accepted by the mainstream. “A lot of times in the media, it’s focused on our trauma and how challenging it is to exist. And so it’s finding the happy balance of validating both of those experiences,” she says. “I think we have a long way to go in Hollywood and television and film. But in the music space, I feel like we are able to listen to songs where we can just celebrate ourselves for who we are and celebrate finding love.”

Now that Kiyoko has helped create this freer music landscape, Lesbian Jesus is planning on expanding her queer kingdom. Fans of Kiyoko’s work in projects like Disney Channel’s Lemonade Mouth or The Fosters should know that she’s not giving up on acting. The former softball player even has one show in particular she’d love to be on.

“I watched A League of Their Own on tour, which was so fun,” she says of the new Amazon Prime Video show inspired by the classic 1992 sports film by Penny Marshall. “And that was really exciting to see queer narratives at the forefront…. I feel like that was something that we don’t really get to see.”

GRETA CONSTANTINE bronze coat; F + H JEWELLERY earrings; MARTYR JEWELRY rings

To remedy that, Kiyoko is also focusing on directing. She’s already directed most of her music videos and now wants to expand to feature films and television in order to tell queer narratives. The road isn’t easy. “It’s been really interesting to navigate that space as well and how challenging it is for [queer creators],” she observes. “There’s a reason why we don’t get to see a lot of queer narratives in shows because it’s just so hard to get them made.”

As an artist, Kiyoko says she always has “4,000 things” going on in her head at a time, and that she’s excited to show as many of them to fans as she can. Even as she’s wrapping up her current tour, she’s planning headlining one where she hopes to get to perform every song from Panorama. Lesbian Jesus has worked hard to build her message of self-love and queer joy, and she’s going to spread this gospel as far as she can.

talent HAYLEY KIYOKO @hayleykiyoko
photographer COYOTE PARK for GOOGLE PIXEL 7 coyotepark.format.com @coyotepark
executive producer & senior director TIM SNOW @snowmgz
creative director RAINE BASCOS
1st assistant MASON ROSE masonrose.photography @masonrose__
light tech EVADNE GONZALEZ @evadnegonzalez
digitech MERLIN VIETHEN
video AUSTIN NUNES austinunes.com @austinunes
producer STEVIE WILLIAMS x2production.com @beingstevie of X2 Production
set designer ORRIN WHALEN orrinwhalen.com @orrinwhalen
art assistant BRANDON LOYD @ohmylord
stylist EDWIN ORTEGA edwinortega.com @edwin.j.ortega
styling assistant BROOKE MUNFORD @brookesquad
hair/groomer ABRAHAM ESPARZA abrahamjesparza.com @thisisbabe
manicurist RILEY MIRANDA @rileymiranda.nails
makeup artist MARLA VASQUEZ @marlavasquez

MUGLER red jumpsuit from FWRD; RAVEN FINE JEWELERS cross earrings 

This article is part of Out‘s November/December 2022 issue, out on newsstands November 8. Support queer media and subscribe — or download the issue through Amazon, Kindle, Nook, or Apple News.

In 1972 — half a century ago — Stevie Wonder reinvented the sound of pop by embracing all he could accomplish on his own.

He released two albums that year: “Music of My Mind” in March and then, less than eight months later, on Oct. 27, the even more confident and far-reaching “Talking Book.”

“Talking Book” was a breakthrough on multiple fronts. It demonstrated, with the international smash “Superstition,” that Wonder didn’t need Motown’s “hit factory” methods — songwriters and producers providing material that singers would dutifully execute — to have a No. 1 pop blockbuster.

Wonder had given signs on earlier albums, particularly his self-produced “Where I’m Coming From” (1971), that he would not just be writing love songs. “Talking Book” reaffirmed that, and also extended his sonic and technological ambitions, as he used state-of-the-art synthesizers and an arsenal of studio effects to orchestrate his songs with startlingly novel sounds. And its album cover — which showed Wonder wearing African-style robes and braided hair in a quasi-Biblical desert landscape (actually Los Angeles) — made clear that Wonder’s futurism was unmistakably Afrofuturism.

Although Wonder had just reached voting age, he was no novice when he made “Music of My Mind” and “Talking Book.” They were his 14th and 15th albums in a decade-long career that stretched back to his days as Little Stevie Wonder, who was just 13 when he had his first No. 1 song with an irresistibly exuberant live recording: “Fingertips, Pt. 2.”

During his teens, Wonder proved himself onstage and in the studio as a singer, keyboardist, harmonica player, drummer and, with hits like “Uptight (Everything’s Alright)” and “Signed, Sealed, Delivered (I’m Yours),” as a songwriter. He revealed musicianship that was both richly and widely grounded — in gospel, R&B, jazz, show tunes, folk, pop, country, classical music and more — and playfully but determinedly recombinant. Even when he was a teenager, his music meshed and reconfigured genres.

Wonder’s first Motown Records contract ended as he turned 21 in 1971. Other labels were eager to sign him, and when he returned to the Black-owned Motown, he had won complete creative control for himself. From then on, he would write and produce his own songs, release albums when he decided they were finished and choose his own collaborators. He made an unexpected choice for starters: Malcolm Cecil and Robert Margouleff, a team of musicians, producers and engineers.

In what were still the early days of synthesizers, Cecil and Margouleff had constructed a Frankenstein monster of an instrument they called TONTO (which they retronymed The Original New Timbral Orchestra). It weighed more than a ton. Margouleff and Cecil had connected modules and keyboards from Moog, Arp and other manufacturers and figured out a way for the formerly incompatible devices to control one another. Billing themselves as Tonto’s Expanding Head Band, Margouleff and Cecil made a 1971 album of synthesizer pieces, “Zero Time,” and Wonder heard in it the possibilities for sounds he wanted to summon from his keyboards.

In their test run — a three-day weekend working together in the studio — Wonder wrote 17 songs. From 1972-74, with Wonder writing the songs and Cecil and Margouleff programming the sounds, they would make four landmark albums: “Music of My Mind,” “Talking Book,” “Innervisions” and “Fulfillingness’ First Finale.”

The early 1970s were a wide-open — and in retrospect simply remarkable — era for R&B that melded social consciousness and musical creativity. Groups like Sly and the Family Stone and the late-60s Temptations had shown that psychedelic soul hits could carry strong messages, and in the early ’70s, songwriters like Marvin Gaye (with his album “What’s Going On”) and groups like Earth, Wind & Fire, Parliament-Funkadelic, the O’Jays and Labelle explored utopian dreams and street-level insights in songs that united the sophistication of jazz with the earthiness of funk and rock. These were parallel explorations, often with large stage and studio bands; meanwhile, Wonder found a path of his own, nearly solo.

“Music of My Mind,” the first album under the new Motown contract, started to probe Wonder’s newfound freedom; then “Talking Book” reveled in it. It’s an album mostly of songs about love: euphoric, heartbroken, jealous, regretful, longing, anticipatory. Yet love songs like “You Are the Sunshine of My Life” and “Lookin’ for Another Pure Love” don’t confine themselves to the ups and downs of individual romance; their love can encompass family, friends, community and faith.

Midway through, the album brandishes a pair of hard-nosed reality checks. In “Superstition,” Wonder warns against gullibility and received opinion, with a loose-limbed drumbeat, chattering stereo Clavinets and taunting horns making his advice as danceable as it is vehement. And in “Big Brother,” Wonder sings “I live in the ghetto” and denounces a sanctimonious politician who wants his vote but is “tired of me protesting/children dying every day.”

Wonder influenced generations of singers with his voice on “Talking Book”; he talks, croons, teases, preaches, moans, barks, growls. It’s not exactly gospel, blues, soul, rock or jazz; it’s all of them at once, and it gives every note he sings an unpredictable life of its own. With the keyboards, synthesizers and effects under his control — there’s wah-wah everywhere — Wonder could extrapolate his vocal inflections to the instruments he played.

Unlike some of the more heavily orchestrated or earnest efforts of early ’70s R&B, “Talking Book” doesn’t feel vintage. Its arrangements are lean and contrapuntal, uncushioned, making every note earn its place both as a melodic line and a rhythmic push. Yet their precision doesn’t make them anywhere near mechanical. Wonder had only a handful of additional musicians on “Talking Book,” but he fabricates the sound of a bustling, multifarious neighborhood largely on his own. And the whole production is set in a surreal, elastic, immersive electronic space that’s far more familiar now than it was 50 years ago.

None of that ingenuity would matter if the songs weren’t substantial and touching. Wonder sings about love going right — “In my mind, we can conquer the world,” he declares in “You and I” — and love going very wrong. The singer suddenly realizes he’s being cheated on in “Maybe Your Baby,” with a bass line as viscous as quicksand and backup voices chiming in like know-it-alls. He’s been left lonely in “Blame It on the Sun,” casting about desperately to convince himself it’s not his fault.

And the album ends with “I Believe (When I Fall in Love It Will Be Forever),” a Beatles-tinged three-episode song in which the singer picks himself up from “shattered dreams,” imagines the bliss of endless love with a choir of backup harmonies arriving to uplift him, invokes God, then segues into a bluesy come-on to “the girl that I adore.” The romance is all still hypothetical; the sheer joy is not. And every note comes from Wonder himself.

“Talking Book” was not only a hit album — No. 1 on the R&B chart, No. 3 on the all-genre Billboard 200 — but also a harbinger of R&B and pop that would be increasingly electronic and synthetic, proudly unbound by physical realities. One of Wonder’s many gifts to music was that even as he created the artificial sound-worlds of his songs, he made sure they were brimming with humanity.

Here, 27 of the countless musicians and listeners who created and have been inspired by “Talking Book” discuss the album, song by song. These are edited excerpts from the conversations. — Jon Pareles

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K-pop is full of fantastic tunes, feel-good bops, and certified bangers that anyone can enjoy, regardless of their proficiency with the Korean language. Even so, diving into the world of South Korean pop music can be intimidating to English speakers who are accustomed to understanding all of a song’s lyrics.

Fortunately, you don’t have to jump straight to songs with Korean lyrics in order to start exploring K-pop. Many K-pop artists have released English-language tunes that allow you to familiarise yourself with the performers and their sound before plunging into their wider discography. This has become increasingly common in recent years, as K-pop’s global reach expands and idols seek to attract and cater to new audiences.

A lot of these releases are also just fantastic songs by themselves, regardless of whether you’re interested in investigating K-pop any further.

In no particular order, here are some of the best English-language songs from K-pop idols.

1. “Love Talk” by WayV

This list is strictly limited to songs by K-pop idols that aren’t just English-language versions of previous Korean releases. “Love Talk” by WayV was initially in Mandarin, so it doesn’t count.

Released one week after the original Mandarin song, 2019’s “Love Talk” is a smooth jam about an attraction between people who don’t speak the same language. The alluring melody satisfyingly recalls ’90s R&B and offers an appealing contrast between the seductive chorus and steady rap. This has won its music video almost 75 million views in under three years and over 107 million streams on Spotify.

You could justifiably argue that “Love Talk” isn’t a K-pop song, as Mandarin is obviously not Korean. However, WayV is the Chinese subunit of K-pop group NCT, making the artists themselves K-pop idols. This means they clearly satisfy the arbitrary requirements for inclusion on this list that I made up. Besides, I wasn’t about to leave “Love Talk” out. It’s just too good to not recommend.

2. “LMLY” by Jackson Wang

“LMLY” by Jackson Wang is severely underrated, and I will continue to speak my truth until this retro ’80s tune gets the attention it deserves. 

Jackson has kept himself busy since he and his K-pop group GOT7 left JYP Entertainment, collaborating with artists such as RAIN, continuing to run his label Team Wang, and forming hip-hop group PANTHEPACK. While he is still working with GOT7, Jackson has also gone in hard on English-language solo work, experimenting with an entire spectrum of musical genres across songs such as “Blow” and “Cruel.” 

Yet out of all of this, it was the idol’s 2021’s nostalgic synth-pop tune “LMLY” that had me setting its Hong Kong cinema-inspired music video on loop. An acronym of “Leave Me Loving You,” “LMLY” is a wistful song about the singer’s fear that their lover is losing interest in them. “You don’t call me baby / You call me my name,” Jackson mourns. “But I keep on hoping / Nothing has changed.” Like, ouch.

3. “The Feels” by TWICE

Do you love feel-good bops? Energetic, colourful performances? Addictive, appealing dances that are fun to learn yourself? Well then, please allow me to introduce you to your next nine girlfriends.

“The Feels” is the first original English-language single from hugely popular girl group TWICE, who have enjoyed massive success in South Korea and Japan for years. This solid, sweet 2021 love song about having “the feels” is a great introduction to TWICE for Western ears, offering a taste of the bright, catchy, optimistic tunes these seasoned performers excel at. Their sound certainly has an audience as well, with the music video racking up over 320 million views in just over a year.

If you’re after more of TWICE’s cute yet mature sound, the group has also released English versions of their Korean songs “More and More” and “I Can’t Stop Me.” You can’t go too wrong wherever you start though — their entire discography is filled with tunes that will stick in your head and steal your heart.

4. “Dream of You” by CHUNG HA (with R3HAB)

“Dream of You” was a mandatory addition to this list, and I regret nothing. CHUNG HA’s 2020 collaboration with R3HAB delivers a satisfyingly unapologetic banger, dripping with confidence and a highly danceable beat. CHUNG HA demands attention, irresistibly drawing all eyes and ears to her, and she knows it. This is one I’ve had on repeat, and I need you all to join me.

A sexually charged club song about enticing a lover into bed, “Dream of You” is also much more forward than the casual K-pop listener might expect. CHUNG HA paints a vivid picture of inviting their paramour back to her place, and isn’t shy about what’s likely to happen once they’re alone.

“What can I say? Park the car and come on in / I got whisky, I got gin, and lingerie,” sings CHUNG HA.

5. “Kiss of fire” by WOODZ

Technically “Kiss of fire” isn’t entirely in English. Soloist WOODZ does throw in the tiniest pinch of Korean during the second verse, brief enough that you might miss it unless you know it’s there. Still, 99 percent of the song’s lyrics are in English, which feels like enough to let it sneak onto this list. I will make whatever excuses I need to for this excellent jam.

The Korean lyrics in “Kiss of fire” also won’t prevent listeners who don’t understand the language from understanding the song. Released in 2021, “Kiss of fire” is a contemporary R&B track about hot, burning love, with WOODZ flexing his falsetto to deliver a charismatic vocal performance over a rhythmic bassline.

If you’re more interested in rock, WOODZ’s “Dirt on my leather” is also worth checking out for an incredibly different vibe.

6. “Sweet Night” by V

BTS cemented their place in the Western music scene with English-language singles “Dynamite,” “Butter,” and “Permission to Dance,” all of which are upbeat tunes that primarily endeavour to spread good vibes. (Don’t pretend you haven’t heard them. Ignorance and lies have never won anyone respect.) In contrast, “Sweet Night” by V strikes such a different tone that you’d have no idea he was a member of BTS unless you were told. 

Recorded for the original soundtrack of 2020 Korean drama Itaewon Class, “Sweet Night” is a comforting, gentle acoustic song that’s just as sweet as its title implies. V’s soothing voice is complimented by Matilda Mann’s pure backup vocals, and the whistled refrain leading out “Sweet Night” emphasises its simple, clean melody. It isn’t difficult to understand how the music video has earned over 86 million views at time of writing. Pair this song with a quiet night and a warm cup of tea.

7. “Oh my god” by (G)I-DLE

(G)I-DLE’s dark, ambiguously sapphic 2020 single “Oh my god” was released simultaneously in Korean and English — though only the former got the benefit of its visually striking music video, which accumulated 184 million views in a year and a half. Fortunately, fans took it upon themselves to edit the English audio on top of the Korean clip, so you can still get the full experience.

Though (G)I-DLE’s trap-pop song is officially about love in all its forms, gay K-pop fans have embraced “Oh my god” as a “lesbian anthem,” citing its liberal use of female pronouns as well as its religious imagery. 

Also, just all of the lyrics. Listen to songwriter Soyeon sing “can’t stop, girl, you make me sick” and try telling me “Oh my god” isn’t queer coded with a straight face.

8. “Life’s Too Short” by aespa

This 2022 song threw me right back to the pastel-coloured early ’00s, strongly reminding me of the girl groups that used to populate my beloved Barbie-branded compilation CDs. Offering a laid back, nostalgic pop sound, “Life’s Too Short” is an unbothered message to aespa’s detractors — or anyone who sets out to put others down.

“I’m doin’ me regardless,” aespa declare. “And I don’t care what you say about it / And it don’t matter if you like it or not / I’m having all this fun, so why would I ever stop?”

Earning almost 50 million views in just under four months, “Life’s Too Short” is a self-affirming song with sweet harmonies that hearken back to the simpler times of butterfly clips and gel pens.

9. “2 MINUS 1” by SEVENTEEN

Though credited to SEVENTEEN as a whole, “2 MINUS 1” only features the 13-member boy group’s two most fluent English speakers: Joshua and Vernon. These members were also on the writing team for “2 MINUS 1,” which became the first completely English-language song in SEVENTEEN’s discography upon its release in 2021.

Inspired by early-2000s’ pop-punk acts such as Avril Lavigne, “2 MINUS 1” is an exercise in post-breakup denial, with Joshua and Vernon declaring they’re definitely doing great, and they’re not lonely at all, and they absolutely don’t need their former lover anymore. The lyrics cleverly weave such statements with bitter accusations and more honest hints at their true feelings, all wrapped up in a clean track that could easily slip into any early ’00s pop-punk playlist.

It’s a sound many of us know and love, and SEVENTEEN pull it off beautifully.

10. “Another Life” by KEY

It’s an undisputed fact that SHINee are K-pop royalty. Debuting in 2008, the phenomenally popular boy group has accumulated a deluge of achievements and accolades over their storied career, both together and as solo artists. 

“Another Life” by SHINee’s KEY demonstrates how almost 15 years in the industry has sharpened the performer’s skill to a razor’s edge. A synthwave dance bop, “Another Life” is a love song that invokes images of travelling to Atlantis or blasting into outer space, tying into the retro creature feature inspiration of KEY’s 2022 album Gasoline.

It’s a dynamic tune with a catchy chorus, energetic beat, and tempting replay button.

11. “WHO DO YOU LOVE?” by Monsta X (feat. French Montana)

Not content with just one or two offerings, boy group Monsta X treated Western fans to an entire album completely filled with English-language songs in 2020. ALL ABOUT LUV is packed with pleasing tunes on the themes of romance, love, and lust, ranging from the longing to be longed for in “SOMEONE’S SOMEONE,” to the bitterness of seeing an ex “HAPPY WITHOUT ME,” to staying up thinking about a lover in “MIDDLE OF THE NIGHT.”

It’s difficult to pick a standout when you’re so spoiled for choice, but lead single “WHO DO YOU LOVE? (feat. French Montana)” is a good place to start as one of the catchiest songs on the album. Just skip over the part where French Montana raps. We’re not claiming that.

ALL ABOUT LUV also has a few slightly more risque songs such as booty call bid “GOT MY NUMBER” and the deceptively innocent-sounding “LOVE U,” whose suggestive lyrics I was absolutely not prepared for (“I really, really wanna love you / But I can’t say the word I want to / ‘Cause they won’t play it on the radio”).

12. “Can’t get you out of my mind” by Dreamcatcher

Good news for anyone who desperately missed the early 2010’s club scene: Dreamcatcher’s EDM track “Can’t get you out of my mind” will effortlessly pull you right back there, complete with sick bass drop.

A B-side quietly nestled in Dreamcatcher’s 2020 mini-album Dystopia: Lose Myself, “Can’t get you out of my mind” may have been easy to miss upon its initial release. The fact that it came out during the COVID-19 pandemic likely didn’t help either, with lockdowns impacting both dance venues and promotion opportunities.

This is unfortunate, because the girl group’s first English-language song is a banger that wouldn’t feel out of place on any good club playlist. This is a great tune for when you don’t want to think, just dance.

13. “Zombie” by DAY6

DAY6 are a bit different from the other K-pop artists on this list, as they’re a band rather than a group. This means that rather than spectacular, highly choreographed group dances, the members play instruments on stage — so not quite what you’d usually picture when someone says “K-pop.” But that just means you won’t have as much to distract you from their songs’ lyrics.

“Zombie” isn’t quite as uptempo as DAY6’s previous single “Sweet Chaos,” which would definitely have been on this list if it were in English. Rather, the downbeat 2020 pop-rock song focuses on depression, likening the unfortunately relatable feeling of numbness to being a zombie. I hope it doesn’t hit a chord with you, but it probably will.

14. “Pity Party” by Jamie

Jamie’s “Pity Party” is an attitude-filled anthem for self-destruction, bringing out the After School Club host’s sultry, “toxic” side. This is one for those nights you know you’ll probably regret, but just can’t bring yourself to care.

“Pity Party” does acknowledge that once you’ve hit rock bottom “the only way is up,” threading Jamie’s repetitive yet appealing 2022 groove with savage determination. However, that’s largely a problem for Future Jamie. In the meantime, the primary focus of “Pity Party” is taking the moment to revel in the dark freedom and dramatic spectacle of being so low.

“Thriving off the drama” may not technically be the healthiest or most constructive stance to take in most situations. But you can’t deny it is deliciously fun.

15. “Somebody” by Wonho

The lyrics of Wonho’s 2022 song “Somebody” are all about loneliness, with the singer crying out for “a shoulder to lean on” when alone at night. Yet despite the desolate subject matter, the song itself is a groovy bop with a steady, catchy rhythm that belies its topic. Being desperately lonely shouldn’t sound so good.

Wonho’s clear vocals and attractive falsetto are underscored by an enjoyably strong bass line running throughout “Somebody,” mirroring his adorably soft personality and famously jacked build.

I have never met Wonho and probably never will. That being said, he seems like a very sweet man and I hope he finds somebody soon.

16. “Borderline” by SUNMI

“Borderline” hits you as soon as SUNMI opens her mouth, crooning “I’m trying to be a good girl / Didn’t mean to fake it.” Co-written by SUNMI herself, this dark 2020 tune is about the former Wonder Girls member’s experiences with borderline personality disorder, having been diagnosed with the condition in the mid-2010s.

“It’s my story that I’ve hidden for a long time,” SUNMI said in English-translated comments. Though she previously kept her borderline personality disorder a secret, SUNMI shared that she now wanted to tell others who are struggling that they aren’t alone.

As such, the languid, personal song seems almost disinterested in popular appeal. Rather, it’s more concerned with conveying SUNMI’s personal struggles in an almost ambient manner, her hypnotic voice effectively luring listeners in to form a connection.

17. “neon” by Amber Liu (feat. PENIEL)

While Amber began her career as the main rapper for K-pop girl group f(x), she’s now arguably more known for her solo work, having shown off her vocal skills in multiple Korean, English, and Mandarin songs since 2015. As such, Amber now has an extensive English-language discography to choose from, with various songs such as  “Other People,” “On My Own (feat. Gen Neo),” and “complicated” falling across a wide spectrum of melancholy.

Light 2021 bop “neon” gives Amber the opportunity to show off her vocal skills in a decidedly more optimistic setting, with Peniel from boy group BTOB taking the reins for the English version’s rap (Blow Fever takes on this role in the Mandarin version). Resting comfortably in its chill pop disco vibe, “neon” is a smooth, enjoyable jam with a music video that was definitely a ton of fun to film.

18. “No Problem” by Nayeon (feat. Felix from Stray Kids)

TWICE’s lead vocalist Nayeon made her solo debut in 2022, filling her album Im Nayeon with love songs to compliment her bubbly lead single “POP!” Among these was “No Problem,” an entirely English-language song featuring her labelmate Felix from Stray Kids.

An uncomplicated song about bolstering your partner when they’re feeling down, “No Problem” is a characteristically cute little bop that embraces its simple and straightforward nature. It isn’t necessarily groundbreaking, but sits comfortably as a bright palate cleanser between “POP!” and the rest of Nayeon’s album.

Though Nayeon’s group member Tzuyu released a playful cover of Taylor Swift’s “ME!” with Stray Kids’ Bang Chan in 2021, “No Problem” is the first time members from both groups have collaborated on an original English-language performance. 

19. “Bonnie & Clyde” by YUQI

I told myself I’d stop, but just let me just squeeze in one more song.

(G)I-DLE member YUQI only had two songs on her 2021 solo debut album A Page, which may indicate just how confident she was in them. “Giant” and “Bonnie & Clyde” were also English-language releases, with YUQI’s album eschewing both Korean and her native Mandarin entirely.

The lyrics of “Bonnie & Clyde” tread familiar territory, focusing on a passionate couple who are completely wrapped up in each other to the exclusion of all else — much like the titular criminal couple. Even so, YUQI’s low, steady vocal performance and the song’s relentless, trance-like melody make “Bonnie & Clyde” an appealing tune that deftly showcases the singer’s skill.

It’s worth keeping in mind that this is just a small selection of songs from K-pop idols that were released in English first as opposed to Korean. There’s an even wider catalogue of English versions of Korean songs, such as ITZY’s “LOCO” and Pentagon’s “DO or NOT.” 

Yet even this is minuscule when compared to the entire universe of tunes you can enjoy once you relax and embrace Korean lyrics. Don’t worry if you don’t understand what they’re singing 100 percent of the time — you can always look up translations. Besides, sometimes all you need to know is the vibe.

Rihanna attended the Black Panther: Wakanda Forever premiere last night (October 26) ahead of the release of her new single, which will appear on the movie’s soundtrack.

The pop icon confirmed her return to music for the first time in six years earlier this week, with the announcement of the song “Lift Me Up.” The track will be released tomorrow (28) via Westbury Road/Roc Nation/Def Jam Recordings/Hollywood Records.

Rihanna attended the Black Panther: Wakanda Forever premiere in Los Angeles last night alongside her partner, A$AP Rocky. It was the pair’s first red carpet appearance since Rihanna gave birth to their first child earlier this year.

The star was filmed speaking to Disney CEO Bob Chapek on the red carpet, with Chapek telling her: “It’s the biggest event of the year.” “It’s big for me as well,” Rihanna replied. “I’m honored to be a part of this.”

“Lift Me Up” was written as a tribute to the extraordinary life and legacy of Chadwick Boseman by Tems, Oscar winner Ludwig Göransson, Rihanna, and Ryan Coogler. The song was recorded in five countries and was produced by Göransson. According to The New York Times journalist Kyle Buchanan, the track will serve as the end-credits music for the Black Panther sequel.

Rihanna joins Sampa The Great in being involved with the music for Black Panther: Wakanda Forever. The Zambian rapper’s track “Never Forget,” featuring Chef 187, Tio Mason, and Mwanjé, featured prominently in the trailer for the hotly-anticipated movie, which was shared in September.

Meanwhile, Rihanna has also been confirmed as the headliner for the Super Bowl LVII halftime show, which will take place at the State Farm Stadium in Glendale, Arizona, on February 12, 2023. Speaking to TMZ after the announcement, the singer said of the prestigious performance: “I’m nervous, but I’m excited.”

The soundtrack, Black Panther: Wakanda Forever – Music From and Inspired By, will be available on November 4 from Roc Nation Records/Def Jam Recordings/Hollywood Records.

Pre-order “Lift Me Up.”