2PM is a prominent South Korean boy band formed by JYP Entertainment in 2008. Known for their athletic and energetic performance style, 2PM has been dubbed as “beast idols” in K-pop.

The group originally debuted with seven but has been performing with six since the departure of Jay Park in 2010. They may not be the youngest or the trendiest group out there, but they have got something that’s hard to find in the K-pop world: staying power. And in an industry where groups come and go really fast, that’s something to be ired.

Jun.K (Kim Min-jun)

• Birthdate: January 15, 1988 
• Age: 36 years old
• Role: Main vocalist, composer

Jun. K pursued higher education at Dongguk University, majoring in music. He has contributed significantly to the songwriting and composing of 2PM’s music. Jun. K has also released solo albums like Mr. No and Love & Hate, showcasing his R&B and soul influences. 

Nichkhun (Nichkhun Buck Horvejkul) 

• Birthdate: June 24, 1988 
• Age: 36 years old
• Role: Vocalist, face of the group

Born in California and raised in Thailand, Nichkhun is of Chinese-Thai descent and is known for his international appeal. He is skilled in multiple languages, including Thai, English, Korean, and Japanese. Nichkhun has acted in various television dramas in South Korea and China, notable ones being My Bubble Tea and Arthdal Chronicles.

Taecyeon (Ok Taec-yeon) 

• Birthdate: December 27, 1988 
• Age: 35 years old
• Role: Main rapper, actor

Taecyeon, the charismatic jack-of-all-trades, has proven his versatility time and time again. He was born in South Korea but moved to Massachusetts for his middle school years. He has a successful acting career and has starred in popular dramas like Vincenzo and Save Me. 

Wooyoung (Jang Woo-young) 

• Birthdate: April 30, 1989 
• Age: 35 years old
• Role: Lead vocalist, dancer

Wooyoung is the dance machine and vocal powerhouse of 2PM. His sharp, precise movements and infectious energy have made him a standout during the group’s live shows. Wooyoung’s talents have also shone through his solo endeavors, particularly in his musical theatre career.

Junho (Lee Jun-ho) 

• Birthdate: January 25, 1990 
• Age: 34 years old
• Role: Main vocalist, dancer

Junho’s emotive performances are a highlight of 2PM’s discography, particularly in ballads like I’ll Be and Hanarete Itemo.  Junho’s solo work, including his Japanese albums Kimi no Koe and Dsmn, has further showcased his ability to connect with audiences. Like his fellow , Junho has also ventured into acting, appearing in dramas such as Wok of Love and Confession.

Chansung (Hwang Chan-sung) 

• Birthdate: February 11, 1990 
• Age: 34 years old
• Role: Vocalist, rapper, maknae

While Chansung may be among the youngest, his skills in singing, dancing, and acting have made him an essential part of the group. His acting career has also blossomed, with roles in dramas like What’s Wrong with Secretary Kim and So I Married an Anti-fan.

Over the years, 2PM has tried out a bunch of different styles and concepts, which just goes to show how versatile and talented they are. They started off with a tough, macho image but have since explored all sorts of other styles . No matter what concept they are going for, they always give it their all and put on an amazing show.

After debuting in the K-pop world with their mini album six years ago, the ATEEZ boys have finally opened their personal Instagram s. Are you following them yet?

Formerly called KQ Fellas (in case you’re wondering where they went), the ATEEZ South Korean boy band has consistently risen to fame since its debut in 2018. The group quickly gained prominence in the K-pop industry with top Billboard chart hits like “Wonderland”, “Answer,” and “Inception.” If you’re even half a fan of Korean pop music, their Treasure and Fever series must ring a bell.

Standing for “A to Z,” the boy band has enticed the K-pop fandom with their looks and personality as much as they do with their music. Given their reputation and talent, they have served as official global ambassadors for Korean culture and tourism while also being dubbed “4th Generation Leaders” by the Korean Ministry of Culture, Sports, and Tourism. ATEEZ also made their U.S. television debut on The Kelly Clarkson Show in June 2024, marking a new high of their global appeal.

Naturally, their rising popularity demands a stronger social media presence. To everyone’s delight, all eight of ATEEZ: which includes the leader Hongjoong, Seonghwa, Yunho, Yeosang, San, Mingi, Wooyoung, and Jongho, now have personal s on Instagram. Here’s where to find them:

1. Hongjoong: @no1likeme8_8
2. Seonghwa: @_starhwa
3. Yunho: @yunou._.u
4. Yeosang: @im_ovation
5. San: @choi3an
6. Mingi: @fixon_n_on
7. Wooyoung: @wooyounggg__
8. Jongho: @imfinalho_

Not even a month after ing Instagram, the group are already closing a million followers each, with San having the highest count thus far (can’t blame anyone, he’s my favorite too). The group also has an official Instagram for their band, under the name @ateez_official, which has a whopping 9.5 million followers as of June 2024.

And this is your cue to head to the app, and follow them all!

Few music groups have enjoyed quite the breakout moment like BLACKPINK, the K-pop four-piece comprised of Jisoo, Lisa, Jennie and Rosé.

Since their debut studio album in 2020, the “How You Like That” hitmakers have become household names, helped in no small part by their longtime record label, YG Entertainment. The entertainment company, which is also home to fellow music signees like Treasure and BabyMonster, has been behind BLACKPINK’s biggest tracks and albums, but its involvement in the band’s solo music ventures is a little less clear.  

News about the relationship between YG Entertainment and BLACKPINK band member Lisa arose in December 2023, after months of speculation that the rapper and vocalist was departing the label for her solo music projects. So what exactly is the contract between YG Entertainment and Lisa of BLACKPINK, and is she still signed with the music label">

While there has not yet been confirmation around where Lisa will sign for her future solo material, her departure from YG Entertainment was the subject of much speculation in September 2023, a few months prior to the label’s announcement. At the time, it was reported that Lisa had rejected YG Entertainment’s offer to renew her solo contract for 37 billion won (around $26 million USD), and later turned down an even higher offer of 50 billion won (around $35 million USD).

It was also speculated that Lisa had rejected the offer to pursue an American entertainment company instead, but we’ve since learned that she started her own agency. “Rockstar”, Lisa’s solo single set to arrive on June 27, will be released under LLOUD Co., a music management firm she created earlier in 2024.   

If you feel like it’s been too long since ATEEZ put out some new music, you’re not alone. The group seemingly agrees as they’re gearing up to release a new EP (or mini album as they’re often called in the K-pop industry) titled Golden Hour: Part.1 at the end of May. 

It might feel like years since ATEEZ released anything new but in reality, it’s only been a couple months. The eight-member group dropped their second full-length Korean album, The World EP.Fin: Will, in Dec. 2023 and their third Japanese single, “Not Okay,” in February. All things considered, they’ve been positively prolific in the music department; their output is even more impressive given they recently performed at their first Coachella and they’re preparing for the next leg of their world tour. 

Nevertheless, we always appreciate a good comeback. Golden Hour: Part.1‘s release is quickly approaching and ATEEZ is slowly releasing information about the mini album. 

The Golden Hour: Part.1 tracklist

Despite the wait, don’t expect too much new music. Golden Hour: Part.1 is only composed of six new tracks. The tracklist is as follows:

1. “Golden Hour”
2. “Blind” 
3. “WORK” 
4. “Empty Box”
5. “Shaboom”
6. “Siren” 

ATEEZ has yet to tease the songs so ATINYs are looking forward to hearing exactly what the songs will sound like. Based on the title alone, I feel like we can guess “Shaboom” will be a high-energy party track. “Siren” could be either a sultry bop in the style of the watery mythical creatures of the same name or another hype track, if the title is based on the sound of an emergency vehicle. “Blind” and “Empty Box” feel like total mysteries to me; I could see ATEEZ singing a rare ballad or trying out a completely new genre and surprising us with their versatility. 

I’m most excited for the title track because with a title like “WORK,” it’s probably going to be a banger. ATEEZ rarely takes things slow when it comes to their title tracks and “WORK” will likely be just as energetic and performance-oriented as much of the group’s singles so far. 

Golden Hour. Part 1 will be released on May 31, 2024 at 1pm KST or midnight EST. The album will be available on most streaming services like Apple Music, Spotify, and YouTube. If you’re more into collecting physical albums (and collectible photo cards, of course) the album will be available for purchase at retailers like Target, Barnes and Noble, and online where K-pop albums are sold. 

Seventeen has come a long way from their Seventeen TV days. The 13-member boy group have established themselves as one of the biggest groups in K-pop since their debut in 2015, and to celebrate, they just dropped a compilation album titled 17 is Right Here. 

The album consists of two discs: one featuring a handful of new songs and versions of the group’s Japanese singles re-recorded in Korean, while the other disc is made up of nearly all of Seventeen’s Korean singles. 17 is Right Here is a hefty album as a result, and takes a little over an hour to listen to in full. 

I like Seventeen and I like a challenge, so I took it upon myself to rank every song on the two discs. Seventeen has released some fantastic music during their career and re-listening to nearly all of their singles for this list was a delight.

That being said, I found I have a preference for their earlier work and this list will definitely reflect that. If you disagree with this list (honestly, I probably will too in an hour or two), that’s totally fair. Musical taste is subjective and there is no “right” way to appreciate it. I hope you’ll still enjoy reading this and listening to Seventeen’s new compilation album!

32. “Power of Love (Korean Ver.)”

Seventeen released this perfectly fine ballad just in time for the holidays. It’s lovely but not something I return to often.

31. “Dream (Korean Ver.)”

“Dream” is another relaxing song originally released near the holidays. This one is more my style but I don’t find it as exciting as some of the group’s other work.

30. “Lalali”

Songs by Seventeen’s hip-hop team are always great.

29. “F*ck My Life”

I love when Seventeen releases a “healing” song and “F*ck My Life” is a good addition.

28. “Spell”

This is another great track from Seventeen’s performance team but my favorite is still “Lilili Yabbay.”

27. “Happy Ending (Korean Ver.)”

Seventeen’s Japanese singles are often underrated in my opinion, and “Happy Ending” is no exception. The chorus is catchy but it borders on too repetitive for me.

26. “_World”

I really like “_World” and think it’s a great retro-inspired track in the same vein as HYBE labelmates BTS’ “Dynamite.” That’s also my problem with the song; it would sound similarly great if another group recorded it instead.

25. “Fallin’ Flower”

The music video for “Fallin’ Flower” is one of my favorites and the song is beautiful as well.

24. “Cheers to Youth” 

It’s still too soon to tell, but this might be my new favorite Vocal Team song. 

23. “Hot”

“Hot” has one of my favorite pre-choruses in K-pop but it also doesn’t really feel like a Seventeen song to me. I appreciate how versatile the group is and that they can pull off concepts like this even if they’re not my favorite from them. 

22. “24H (Korean Ver.)” 

Seventeen takes a stab at a very trendy sound and pulls it off just as well as you’d expect. 

21. Not Alone (Korean Ver.)”

I really love Seventeen’s “healing” and motivational songs. They really pull off this concept! 

20. “Super”

“Super” is a performance song through and through. This is made for the stage and is pure spectacle in the best way.

19. “Maestro”

It’s hard to tell exactly how I’ll feel about “Maestro” as a single given how new it is, but for now this feels like a good spot. Love the beat switch-ups in this one. 

18. “Home”

You know Seventeen has a great discography when I rank a song like “Home” at 18. I still love the song’s fake-out antidrop just as much now as I did in 2019 when it was released.

17.  “Ima -Even if the world ends tomorrow (Korean Ver.)” 

I love a good song that sounds like an anime opening.

16. “Boom Boom”

Surprisingly, I didn’t like “Boom Boom” all that much when it first came out. Now though, I recognize it as the classic Seventeen song it is and I can’t help but bop along whenever I hear it.

15. “Thanks”

Despite being one of those fans, I am typically not a fan of songs where K-pop groups express gratitude to their fans; however, “Thanks” is the best take on this trope I’ve heard. The boys are emoting with this one and I love it. 

14. “Fear”

“Fear” differs from many of the songs in Seventeen’s wheelhouse but it works for me. I especially enjoy how the instrumental drops out when Jeonghan opens the second verse. It’s a cool way to keep the song interesting and play with listeners‘ expectations.

13. “Ready to Love” 

“Ready to Love” is another great song I didn’t like at first. I know; I really need to reassess my fave’s discographies more so I don’t miss out on great music!

12. “Rock With You” 

“Rock With You” sounds like the song that a band would play at the end of a feel-good early 2000s movie and I mean that in the best way. 

11. “Home;Run”

Like many Carats, I fell in love with Seventeen’s theatrical sound and I love when they call back to it. It’s their signature for a reason; no other group is doing it like this. I’d love to see more of this sound in K-pop.

10. “Call Call Call! (Korean Ver.)”

Can you believe I didn’t like this song either at first? It took me a while but now I’m all aboard the “Call Call Call!” train.

9. “Oh My!”

“Oh My!” is a chill summer track I always return to. It doesn’t reinvent the wheel but it does exactly what it set out to do and does it well.

8. “Pretty U”

To me, “Pretty U” is a quintessential Seventeen song. It might not be their best but it’s one of their most memorable and a fun one to see live. 

7. “Don’t Wanna Cry”

Seventeen’s 2017 take on a trendy sound was a great career choice for them. This was their biggest song at the time and I still hear its influence in K-Pop even now. A classic. 

6. “God of Music”

Many K-Pop groups turn away from earlier brighter concepts as their careers progress and Seventeen has definitely explored more intense sounds as of late. The funky “God of Music” proves they can still thrive in a brighter soundscape.

5. “Clap”

“Clap” takes Seventeen’s motivational, theatrical sound and adds a little rock edge to it. The result is a fun and energetic song that doesn’t get nearly as much appreciation as it should.

4. “Left & Right”

Their first song after Pledis was acquired by HYBE, “Left & Right” is a catchy addition to their discography. Try not to get the hook stuck in your head.

3. “Adore U” 

“Adore U” is Seventeen’s debut song and a prediction of great things to come. It still holds up as well today as it did in 2015.

2. “Mansae”

Seventeen’s second single “Mansae” (which means “Hurray”) is also one of their best. The song playfully but expertly combines pop melodies with hip-hop elements all while keeping things funky.

1. “Very Nice”

“Very Nice” is not only Seventeen’s magnum opus (so far) it’s basically a perfect K-Pop song. If we lived in a perfect world, this would have topped the charts for months but I’m glad it’s gained more appreciation over the years. 

Today is the fashion world’s Super Bowl: The Met Gala is finally here and ready to stream. As usual, viewers can expect a host of (hopefully) well-dressed celebrities in attendance, including some of our favorite K-Pop stars.

This year’s theme is “Sleeping Beauties: Reawakening Fashion” so expect archival pieces, sleepwear-inspired looks, and lots of “groundbreaking” florals. As usual, the Gala accompanies the Metropolitan Museum of Art’s exhibition of the same name. The new exhibit puts fashion so fragile it can never be worn again on display so it can be celebrated even in this new stage of its life.

Every year, fashion-lovers unite to watch the Gala and critique attendees’ ensembles, usually from the comfort of our couches. It’s a fun way to live vicariously through the fashion world’s “elite” and a way to exercise our own sartorial muscle. In past years, the Met Gala has seen more K-Pop stars in attendance, like Blackpink’s Jennie. Who will we see this year?

Is Stray Kids showing up?

Earlier this week, Stray Kids member Seungmin nonchalantly revealed he and the other were preparing for the Met Gala. Seemingly unaware of the metapohorical bomb he’d dropped on Stays, he and the group remained quiet about the Gala until today.

The group’s official TikTok shared a video teasing the group’s participation later tonight. Hyunjin and Felix of the group have been respectively tapped as Versace and Tommy Hilfiger brand ambassadors so fashion is definitely on their radar.

Vogue confirmed as the Met Gala began that all eight of the group walked the red carpet wearing Tommy Hilfiger suits and peacoats. When revealed, the peacoat’s lining pays homage to the American flag. Patriotic!

At least half of Blackpink could be in your area

Both Jennie and Rosé of Blackpink have attended the Met Gala in the past. Rumors are swirling that the two will appear at this year’s soiree after Rosé shared a picture of her and Jennie strolling in New York earlier this week.

All of Blackpink are associated with high-end brands. Jennie reps Chanel, Rosé wore YSL at her Met Gala appearance, and Lisa and Jisoo are brand ambassadors for Celine and Dior, respectively. If any K-Pop group would be a great fit for the Met Gala, it’s them.

Any wildcards?

We’re still waiting to see who all will show up at this year’s event and I’m hoping for a surprise. CL made history alongside Blackpink’s Rosé as the first female K-pop artist to attend the Met Gala when she made a surprise appearance in 2021. Back in 2013, Psy and Super Junior member Siwon were the first K-pop idol’s to attend and in recent years, NCT’s Johnny and soloist/GOT7 member Jackson Wang have attended the event.

It’s hard to predict who might make an appearance — I mean, it’s a surprise for a reason — but I know I’m not alone when I say I’d love to see a BTS member attend. We all know Jungkook would devour a Met Gala look. For a true wildcard, I’d love to see a Twice or ATEEZ member show up as well.

The rise of K-pop has taken the world by storm in recent years, as more and more South Korean idols are thrust into the limelight. Of course, not every single artist or band achieves international success, but ENHYPEN seems to be headed in the right direction.

Created in a competition reality series called I-Land, this group is composed of the show’s seven winning participants: Jungwon, Sunoo, Heeseung, Ni-ki, Jay, Jake, and Sunghoon. Under HYBE Corporation — the same entertainment company behind the world’s biggest K-pop act, BTS — the boyband has been steadily growing since its debut. To give you an idea of their success, ENHYPEN fans have already been treated to two world tours and have celebrated plenty of award nominations and wins over the years, both in and outside the group’s home country.

Granted, some folks may not be particularly impressed by these achievements in the grand scheme of things. I mean, it’s not uncommon for K-pop groups to get global attention, especially when they have a head start as ENHYPEN did with I-Land. At the end of the day, though, what matters is the music and how people connect with it. As a result, the band is constantly acquiring new fans, who wish to learn everything there is to know about ENHYPEN’s , their discography, and of course, the band’s history.

What is ENHYPEN’s debut date?

ENHYPEN debuted on Nov. 30, 2020, under BELIFT LAB, one of HYBE’s music labels. This may surprise some folks who are new to K-pop and were under the impression that the band’s debut date matched its creation. In reality, though, the word debut is used to mark an idol or group’s first public performance, single, or album release (whichever one comes first). Generally speaking, it’s a set date on which a K-pop artist officially begins promoting their music.

Thus, despite ENHYPEN being formed in the first season finale of I-Land in September 2020, the band’s debut took place two months later, with the release of Border: Day One. This was the group’s first extended play and quickly rose through the ranks to become the second best-selling album in South Korea in November 2020. A pretty impressive feat for an EP that was released on the last day of the month. Sure, pre-orders were available, but still.

ENHYPEN’s debut was a success and if its continue doing what they’re doing, we’ll likely see them on tour again. When that happens, be sure to snatch a ticket as soon as possible. If you don’t, someone else will.

ATEEZ is one of the biggest boy groups in K-pop right now and one of the most musically diverse. The group has made a name for themselves with their aggressive, EDM-inspired sound and continues to explore new genres and sounds. 

Since their debut in 2018, ATEEZ has put out several EPs, singles, and studio albums filled with some of the best songs of any K-pop group. Picking just 10 for this list proved to be difficult, but I love myself a challenge (and an excuse to listen through ATEEZ’s impressive discography). 

When I rank a K-pop artist’s discography, I generally limit myself to the singles but I decided to include ATEEZ’s album tracks as I believe some of their best songs are the ones they never promoted. With that said, here ATEEZ’s 10 best songs so far. 

10. “ROCKY (Boxers Ver.”) 2022

After the song gained popularity as a b-side on the EP, Zero: Fever, Part.3, ATEEZ ended up releasing a reworked version for the Japanese market. The original version rocked but not as hard as this one; while much remains unchanged, an added guitar line gives the song a boost befitting its rock inspiration. 

While ATEEZ isn’t a group to shy away from epic instrumentation, this is the first time they’ve leaned into the rock genre. I’d love to hear an evolution of this sound from them in the future.

9. “Guerilla” (2022)

Some K-pop fans complain much of the music released by boy groups is noisy and gruff, with choruses that rely on repetitive shouting rather than a more melodic hook. That can be a fair criticism of some songs but “Guerilla” is one of the best takes on this trope. 

This song is pure aggressive fun and rarely lets up, only taking a semblance of a break in the more vocal-heavy pre-chorus. The whole song rocks but my favorite part is the post-chorus where the group’s vocalists masterfully wail over an electronica riff resembling a guitar solo. 

8. “Arriba” (2023)

Every group needs a sexy, hype-track and “Arriba” is a great example. The song is broadly inspired by Latin music — Reggaeton particularly comes to mind — and while it’s obviously fun, it’s also cleverly produced. The rap sections in particular are a delight as smart production choices punctuate the member’s verses. 

The “skrrt skrrt skrrt” chorus might not be everyone’s cup of tea but it’s fun! When coupled with the live performance, “Arriba” is undeniably a standout in ATEEZ’s discography. 

7. “Wonderland” (2019)

ATEEZ debuted with a unique pirate concept (shoutout to Block B’s “Nilili Mambo” though)  and “Wonderland” is a wonderful evolution of that concept. The song begins with incredible energy, using orchestral and marching band elements to create a sense of rising intensity. 

It builds with an incredible pre-chorus (if you couldn’t tell, this is a theme in ATEEZ’s music) before dropping into a chanting chorus that resembles a sea shanty. An unusual inspiration for a K-pop song but a welcome one. 

6. “Wake Up” (2023)

“Wake Up” is from the group’s EP, The World 2 EP: Outlaw, and even ing for recency bias, this EP is filled with banger after banger. I strongly considered putting every song from this EP on this list but I figured that wasn’t fair to the rest of the group’s outstanding catalog. 

I love how intense “Wake Up” is and how the group’s production team, EDENARY, is never afraid to craft dynamic soundscapes like this one. The chorus is unorthodox for K-pop but I love how haunting the vocals are. Jongho’s strong vocal enhances the eerie atmosphere of the chorus and Hongjoong’s rap is one of the best I’ve heard in any K-pop song. 

5. “Horizon” (2020)

“Horizon” is one of ATEEZ’s weirdest songs. It’s also the song that made me start seriously paying attention to the group’s musical output. There’s a lot happening here — there’s a strong trap influence as well as different EDM sub-genres and a unique vocal sample — but every aspect of “Horizon” feels intentional. 

The first drop takes inspiration from psytrance and reminds me of “Side Effects” by Stray Kids (and I love that song) while the bridge into the final drop is brighter and sounds like something you’d hear at an early 2010s rave. Extended version when? 

4. “Deja Vu” (2021)

Before releasing Zero: Fever, Part.3, ATEEZ polled fans to pick the title track. “Deja Vu” won out over (the also excellent) “Eternal Sunshine” and the group promoted the song on music shows. “Deja Vu” is a sexy, groovy bop and although the song’s darker vibe is very much within ATEEZ’s wheelhouse, I don’t think we’ve heard them get this groovy before or since. 

Forgive me for comparing groups again (I’m forever a multistan) but the song gives off a similar vibe as EXO’s “Love Shot” and it’s a vibe ATEEZ also excels at. The song is great as is but I’d love to hear more of that signature ATEEZ orchestral influence throughout. 

3. “Wave” (2019)

When ATEEZ released this song, tropical house had oversaturated the K-pop market and listeners were collectively burnt out on it. It wasn’t the best time to try their hand at it, but considering “Wave” is one of the best examples of the sound, I’m willing to forgive them. 

This is a breezy, relaxing, yet somehow energizing track unlike much of ATEEZ’s discography (shoutout to b-side “Aurora” from the same EP which has a similarly refreshing vibe). Check it out if you enjoy motivating bangers. 

2. “Take Me Home” (2021)

When I first heard “Take Me Home,” I felt as if the song was tailor-made for me. I’ll be the first to it I love a moody, synthy bop and that’s exactly what ATEEZ is delivering here. 

“Take Me Home” has a stellar chorus that will fill your head hours after your first listen and a standout rap section. Just when you think the song can’t get any better, it closes off with a saxophone solo. Pop perfection. 

1. “Cyberpunk” (2022)

Anyone who has been in a car with me has listened to “Cyberpunk” more times than I can count. This song is not just one of ATEEZ’s best but one of the best K-pop songs, period. 

“Cyberpunk” is everything I like about “Take Me Home” cranked up to 11. We have driving synths, some of the best pop vocal melodies, another great rap section; there’s nothing here not to like.  The only thing missing is an accompanying music video, but I can’t complain when the song is this good. 

The universe has truly been kind to multis. After a pandemic and consequently, a halt in activities, it’s almost needless to say, K-pop fans deserved a win. And a win we got, MOA, because TXT is once again going on a world tour, and hopefully, this time around, all of us will be lucky enough to see them on stage.

The boys are ing quite a roster of idols going on tour and holding concerts abroad. IU, LE SSERAFIM, Stray Kids, and Ateez are also all heading to worldwide stages this year. It feels as though the stars themselves have aligned in our favor, granting us yet again, a world tour. Granted, this isn’t TXT’s first rodeo on stages worldwide, and they just left the stages this past December, but we’re not about to complain about more concerts. So here’s all the information that we know.

Which countries are TXT going to on the world tour?

A few months after their last tour ended — titled “Act: Sweet Mirage” — TXT is once again gifting us with stages worldwide — confirmed by HYBE itself. TXT’s World Tour 2024 will be kickstarting in Seoul, as usual, where the group will play three concerts from May 3 until May 5. Thankfully, these concerts will also be streamed online for all of us who can’t be there in person.

This tour will be titled “Act: Promise,” but aside from the initial concerts, there are no more dates announced. However, considering that HYBE called it a “world tour,” we can surely assume that it will expand to more countries around the globe. In their last tour, TXT performed all over Asia — including Japan, Taiwan, South Korea, Indonesia, Philippines, and Singapore — but they also visited several cities in the US.

In total, their last tour amassed 15 dates, and, unsurprisingly, European, Latin American, and African fans were left with nothing but crumbs and terribly pixelated livestreams. Hopefully, this time around, more dates will be announced, but we can surely expect the aforementioned cities to make it onto the list, considering the group allegedly earned over $40 million in international ticket sales.

Where to get TXT tickets?

At this exact moment, tickets for the “Act: Promise” world tour in Seoul are not yet on sale. In fact, the BIGHIT website still has a “coming soon” warning when attempting to purchase tickets. However, we can still speculate on the prices. Last year, in-person tickets ranged from 154,000 won ($115 US dollars) for General Seats to 198,000 won for VIP tickets (approximately $150).

Alternatively, the price for online live-streaming tickets was 59,400 won ($45 US dollars) for a one-day and 110,000 won ($76 dollars) for a two-day . Considering there will be three dates, the in-concert ticket prices should remain similar, but the online streaming is likely to increase in value if you wish to watch all three concerts.

Hopefully, it won’t be long until we can get a bit more information on the tour. Especially, because we are in dire need of saving up some cash.

In the K-pop industry, bands undergo a training process where they showcase their talents and battle for a place in the final line-up. By the time they debut, they’re polished performers eager to make their dent. BTS’ worldwide success is largely a result of the ’ continuous hard work to perfect these skills.

Now on hiatus to carry out South Korea’s mandatory military service, BTS have displayed their powerful stage presence at Western award shows on more than one occasion, such as their makeshift heist to the sound of their groovy summer hit Butter at the 2022 Grammys. However, Asian award shows are where the usually go all out, like in their grandiose “Idol” and “Dionysus” sets at the Melon Music Awards that could match the greats of live performance. In their clean-cut dance practice videos, where it’s just them and the music, their synchronization, stage dynamics, movement definition, and immense energy become even more evident. 

That BTS can dance there’s no denying, but, even if their tight, meticulous choreography creates a captivating harmony, at a closer look, there are a few that stand out. Dubbed “the dance line”, j-hope, Jimin, and Jungkook bring a special kind of flair to their movements and tend to take center stage during the group’s more ambitious choreographies. V is the dance line’s honorary member thanks to his innate charisma and groove, while RM, SUGA, and Jin make their own, indispensable contribution to BTS’ stage magnetism. 

As much as these distinctions among BTS’ dance abilities are generally agreed upon, rankings of best to worst dancers are all down to personal opinion and taste. With that in mind, here are the best dancers in BTS, ranked. 

1. j-hope

J-hope had already made a name for himself as a dancer before ing BTS. With his roots in b-boying and hip-hop, he was part of an underground dance group called NEURON and participated in a competition for dancers held by JYP Entertainment, a competitor of HYBE’s. 

J-hope specializes in popping and locking and is a great freestyler. The 28-year-old dancer, rapper, and singer often did livestreams, in a segment he called Hope On The Street, where he performed freestyle for fans in the company’s dance studio.  Within the group, j-hope is the main dancer along with Jimin, and the owner of a fierce work ethic when it comes to their performances. If you find BTS backstage pre-show they will most likely be going through each dance move with j-hope leading the scene. 

J-hope’s hip-hop influences are most clear in his solo work, particularly his 2019 single “Chicken Noodle Soup,” a remake of its Harlem namesake from the 2000s. His dance challenge with the song’s choreography went viral online. 

BTS’ many strengths only achieve their full potential when united into their exigent, incredibly synchronous, and dynamic group choreographies. As for whatever weaknesses BTS’ might have as individual dancers, they pale in comparison to their chemistry and magnificent vigor when banded together.

In recent years, the demand for K-Pop content has constantly increased, especially with the popularization of the genre by third-generation groups Blackpink, BTS, and EXO. The number of companies – or labels – aiming to accommodate and help aspiring artists achieve their musical dreams and perform on the biggest stages in South Korea has also been growing. The fourth-generation groups have recently started to follow in their seniors’ footsteps, with the newest stars’ popularity expanding throughout the internet. 

Alongside Stray Kids, NewJeans, and TXT, one of the most popular fourth-generation groups to have recently debuted is LE SSERAFIM. Within only two months since their debut, the girl group already had a number of controversies surrounding one of their , Kim Garam, forcing the coned companies HYBE and Source Music to put an end to her contract. Here is everything you need to know about this young artist whose career ended before it started. 

Who is Kim Garam?

Born November 16, 2005, in Sangju, South Korea, Garam is a young singer who achieved stardom at the tender age of 16 when many were still struggling to juggle their free time with schoolwork. Prior to ing LE SSERAFIM, Garam had auditioned for Source Music. That would prove to be fruitless, as she wouldn’t be able to the first tryout. Luckily, in 2019, HYBE purchased Source Music, giving Garam another opportunity to the music industry by ing one of the largest companies in South Korea. 

Known for giving wings to powerhouses like BTS, TXT, and ENHYPHEN, HYBE (alongside Source Music) placed their efforts into birthing a new girl group into K-Pop. With this newfound opportunity, Garam finally ed the audition and debuted as the main vocalist alongside Chaewon, Sakura, Yunjin, Kazuha, and Eunchae. However, only 79 days after ing the KPOP group, Garam was forced to leave all her dreams behind and return to her old life. 

Why did Kim Garam leave LE SSERAFIM?

Not long after the news was revealed that Garam would LE SSERAFIM, allegations of school bullying began to mount against the singer. Those claims were immediately denied by Source Music and HYBE, who defended the K-Pop star by stating the accusations were meant to slander Garam, adding that the 16-year-old was, in fact, a victim of school bullying herself, bringing the rumors to a halt for a time. 

Nearly a month later, new evidence against Garam arose, this time with a picture of a seemingly official school violence committee document being released with Garam listed as the main perpetrator. Despite the bullying claims, HYBE’s stance on the matter did not shift. As HYBE has done in other cases of defamation involving their artists, the company pursued legal action against those the company said slandered the singer’s name and reputation.

HYBE’s opinion of Garam would eventually change on May 19, when an alleged victim came forward with her legal representative, claiming she had been forced to transfer schools and received counseling due to Garam’s behavior. Allegedly, the student also had to drop out of her new school due to severe anxiety, panic attacks, and even a suicide attempt, all of which were alleged repercussions from the time she shared with the K-Pop star.

The law firm representing the student also threatened HYBE, stating that if the company’s stance didn’t change, and if they remained unapologetic towards the student, the firm would release the results of the Autonomous Committee for Countermeasures Against School Violence, including an outline of the case against Garam. 

“If HYBE continues to maintain their position that ‘the allegation is malicious abuse and Kim Garam is the victim’ without a sincere apology [to Daeryun], this law firm will protect the minor victim as a result of the violence included in the case summary. We will disclose the full text of the notice if needed.” 

Later that same day, HYBE released a statement explaining that the company decided to proceed cautiously due to both parties involved being underage, and stating they would re-examine the information provided and take action accordingly. Source Music and HYBE also urged journalists to refrain from sharing malicious information, as nothing has yet been proved nor decided. 

“Since Daeryun has organized and announced the part of the matter that actually occurred in 2018 in an advantageous manner, we’d like to say that we will also organize our stance and announce it as soon as possible. Therefore, we please ask that journalists refrain from reporting based only on one side’s argument.”

On May 20, Source Music tweeted an official statement regarding Garam, in which they officially placed the singer on hiatus from group activities as a consequence of the allegations made against her, claiming the girl group would continue on with the remaining five . On July 20, Garam’s contract was terminated, and she was permanently removed from the group. 

Where is Kim Garam now?

Since the events occurred, Garam has since spoken out through her friend’s Instagram in a now-deleted post, explaining her side of the story. “Since I worked hard towards my dream, it’s true that I was honestly scared my dreams would be shattered because of my past actions,” she said “however, as each day went by, I became more scared of all the accusations made against me.”

As to the singer’s whereabouts, Garam has since returned to school, but with several consequences on the way. On July 30, 2022, an image started circulating online. The picture was allegedly of Garam’s desk at school, which had been vandalized with several insults and slurs directed at the former LE SSERAFIM member. 

HYBE’s other girl group controversies

While it is too soon to tell, it seems HYBE’s hesitation regarding girl groups has been justifiable, as LE SSERAFIM’s first controversy started even before its debut, and it’s not the company’s first round of public relations nightmares. After all, LE SSERAFIM is HYBE’s second attempt at forming a girl group under their name. In 2012, HYBE debuted GLAM, and right away it was proven to be a step on the wrong stone with controversies following them from the start.

One of the , Dahee, was involved in a money extortion scheme, in which she accused popular actor, Lee Byung Hun, of abuse, with the intention of blackmailing the innocent actor. Just before Dahee’s scandal, another member, Trinity, was allegedly an obsessive stalker, also known as a “sasaeng,” who reportedly followed Super Junior’s Leeteuk. Although it was never confirmed, Trinity left the group as soon as the news broke.

Despite this initial reticence, HYBE has since found its own place within the girl-group sphere in K-Pop. NewJeans – arguably the most popular girl act from the fourth generation – is also under HYBE and ADOR. In August, the multimillionaire company also announced their plans to debut the first ever international K-Pop group alongside Geffen, called “Dream Academy.”

Since the very beginning, BTS‘ company brand was one that focused heavily on the relationship between artists and fans, as well as making music accessible to everyone. It stands to reason, then, that fans are now feeling exploited by HYBE, as the corporation takes drastic — and many would argue, unnecessary — measures to increase profits.

On May 2, an excerpt from HYBE’s recent conference call was made public, in which it’s confirmed that the company currently applies dynamic pricing to some of the acts under its label, namely SUGA and TXT. It’s further explained that while this is only the case for U.S. concerts, the plan is to expand this ticketing strategy to other acts that may perform in the country in the future. While dynamic pricing may not necessarily be the best strategy for other countries, HYBE is considering other ways to “boost concert performance revenue.”

This problem all started with ticket sales for the U.S. leg of SUGA’s world tour. Some fans were shocked to realize their ticket prices had changed while their payment was being processed, but at the time, most attributed the blame to Ticketmaster, which is widely known for gathering rage from different fandoms time and again. As the BTS ARMY is now discovering, however, dynamic pricing has to be approved by the artist or their label, meaning HYBE was behind the strategy the whole time.

Naturally, fans are outraged about this revelation, and quickly took to social media to protest the issue. The hashtags #NoDynamiricing and #SayNoToDynamiricing have been taking over K-pop Twitter for the last few hours, and there is no intention of stopping until HYBE backtracks on its decision. Proving there is no joking around, fans are also canceling merch orders, claiming they will no longer spend their money on it if dynamic pricing continues.

Dynamic pricing isn’t something new in the music industry, but for BTS fans, this is a betrayal of everything the band stands for. ARMY recognizes that concert tickets for the group and its member are always in high demand and that with inflation it would be normal for prices to rise. The issue lies with this strategy making prices skyrocket, to the point where people seated in the same section might end up paying vastly different amounts of money for their tickets, depending on when the purchase was concluded.

For many, dynamic pricing also makes performances inaccessible, turning BTS concerts into something only upper-crust fans would be able to enjoy.

While fans don’t blame BTS itself for this issue, ultimately, they are feeling undeniably exploited by HYBE, considering their constant readiness to their favorite artist is being taken advantage of. Needless to say, this is not good for the company.