Meet ME:I, The J-Pop Group Who Want To Give The World A 'Hi-Five' | GRAMMY.com (2024)

When J-pop group ME:I debuted their balmy anthem "Hi-Five" at KCON L.A. 2024, their contagious energy captivated a stadium of fans and soon-to-be devotees. The song's euphoric vocal climax electrified the audience, asserting that "it's going to be a special season."

The 11-member group harnessed the spark of "Hi-Five" as they segued into "Click," the lead single off their debut EP, MIRAI. The magic of Momona, Rinon, Cocoro, Ran, Miu, Kokona, Shizuku, Ayane, Suzu, Keiko, and Tsuzumi (who is currently on a health-related hiatus) placed the audience at the Crypto.com Arena under a spell — their stage presence characterized by a vivid intensity and an endless allure.

But arriving at this moment involved traversing an arduous path. Before their debut, the 11 members appeared on the third season of "Produce 101 Japan" — the same survival show that previously brought boy groups JO1 and INI to life — and a global audience watched the trainees attempt to break into the music industry.

After overcoming the show's tests and hurdles, ME:I was born at the tail end of 2023, and MIRAI was unveiled in April. The record achieved remarkable success, reaching heights on the Billboard Japan and Oricon Charts with over 250,000 copies sold to date. Crucially, MIRAI showcased the group's artistic core, with music infused with a radiant temperament and complemented by intricate choreography.

Now, ME:I are building on that growth with their sophom*ore extended play, Hi-Five, out on Aug. 28. "This second [release] sounds much fresher, and since it's a summer concept, it feels very joyous," Cocoro tells GRAMMY.com over a video call from Tokyo. "It's definitely a step forward because…We are like a chameleon and can shift in different colors and forms as a group, so with Hi-Five, I think we've been able to expand our [artistry]."

ME:I are disarmingly genuine about their collective desire to keep growing while remaining down to earth about their success. "I want us to be role models and be a group where people can look at us and say, Okay, I want to do that one day and give them dreams," says Suzu.

Ahead of their EP release, ME:I detailed their journey so far, their experience at KCON, and how they're adjusting to their present while getting ready for tomorrow.

This interview has been edited and condensed.

How much does your present self differ from the artist you aspired to be before debuting? Perhaps your view of what it meant to be an idol has evolved since then, especially in light of your experiences during "Produce 101 Japan The Girls."

Cocoro: When I was in the audition process, I only had a vague idea of what kind of idol I wanted to be. However, when we formed ME:I and it [became a reality] that we were going to debut, that's when I realized there was a lot of attention and interest in our group — more than I expected. I felt that we were receiving love from not only people in Japan but also from around the world. Especially among the young people.

Momona: During my time at ["Produce 101 Japan The Girls"], I was able to meet a lot of people, I discovered new music, and I performed on different stages. I found that [those experiences were] quite different from what I originally imagined myself to become, and there wasn't any clear goal of what this team would be or a defined concept, so I was just focusing on whatever was in front of me during that process.

Our debut song, "Click," was something we didn't expect. It was a challenge for us because it was different from your typical K-pop, J-pop, or the "girl crush" movement that's happening right now. That song signifies that we are challengers and are here to bring a fresh breath of air into the industry. We are focusing on achieving the same or even more success with our new release.

Looking back, is there anything you would have done differently during "Produce 101 Japan The Girls"?

Miu: When we were in the middle of [the competition], we were in a very closed environment, rehearsing and trying to perform in teams. But, it was very difficult to find individual growth. I was only able to achieve that at the final performance of "Souzou Ijou," and now I feel I could have invested more in myself much earlier.

That was the first time I knew about how, as a performer, to reflect on yourself and see what you're missing. I didn't know how to find those places of improvement, but now I know how to learn, grow, and absorb from experience.

Shizuku: It was important for me to deliver the right performance, or what I consider the right performance. If I didn't reach that level, I would be very negative about myself. I was very focused on [doing] well and couldn't enjoy the performance on some stages. I paid too much attention to perfection, so now, looking back, I feel I should have enjoyed the music and the performance itself a little bit more.

At what instant did you grasp the new course of your life as members of ME:I?

Keiko: For me, it was when we performed as 11 at the Tokyo Girls Collection [fashion festival]. When the introduction video was shown and we stepped onto the stage, there was a huge light shining upon us. There was so much positivity. It felt like we were looking at the future, and I was really, really proud to be with these 11 girls on stage. In that spotlight, it felt like we could go anywhere together.

Rinon: I will never forget when they called out my name [in the final episode]. From there, we debuted, and we went to a lot of variety shows and did all of these photo shoots. I come from a smaller town [called Misaki-chō, located in the Okayama Prefecture], and I would hear that our fans visit [my hometown]. I would also hear the hairdresser say, "A fan of yours came to our hair salon and asked to have the same hairstyle as Rinon." These small stories of fans reacting and being so much into our work are the moments where I feel that I'm a part of this big thing.

How are you embracing all of these new experiences, and what is the biggest takeaway from all of them?

Ran: I have been in other groups because I was in the industry from a very young age. I feel that with ME:I, the volume of attention we are getting is very different from anything that I've done previously. I wasn't sure if I wanted to do the audition [for "Produce 101 Japan"] because I know how tough it is to make it in this industry. By having received a lot of love and support from the people around me with ME:I, I realized it's always important to challenge yourself to do something big.

It's a very positive experience, but we need to continue working hard and not waste this momentum we're having right now. We must do our best and grow as a group to meet people's expectations.

Suzu: There have been many changes in our lives, but what's important to me is to stay present and treasure every moment, regardless of the challenges we face. It's also important to be thankful, to appreciate the things around us, and to work hard. These are the things I keep in mind.

How are you striving to make the most of this chapter of your career and enjoy it to the fullest?

Kokona: When we first got together, there were some members I hadn't interacted with much during the audition, so I wasn't sure what was going to happen with this group. However, through all the work we have been doing, I got to know all of them, and now I can confidently say that I really enjoy what we do. There are obviously big challenges ahead, but I feel that all 11 of us can support each other.

Ayane: Even after our debut, we have been able to perform on big stages like KCON L.A. We also have these opportunities to meet our fans. Later this month, we have another concert happening, and for fans who are not usually able to see us, we can go to them and meet them. These opportunities are precious, so I hope we will do our best and give our all because we are in such a blessed environment.

The J-pop industry is quick-paced, and you're always on the move, so I want to ask how you try to incorporate self-care in this whirlwind.

Momona: The music and entertainment industry is very fast-paced, and every day, there's always someone new emerging, whether it's a group or an idol, so we want to make sure that we are ourselves and reflect that [authenticity] in our work. To do that, I think teamwork is key, and when you mention self-care, I believe it's the same thing.

We support each other as a team, making sure to take care of each other's mental well-being when needed. Even on our days off, we connect and go out together. We are a very close-knit group, and I think only we truly understand what we go through in our line of work.

KCON L.A. 2024 was the group's first official performance in the United States. How did you navigate the preparation phase, given that this would serve as your introduction to the world?

Ran: Leading up to KCON L.A., our schedule was really tight and we had our individual jobs as well, so it was hard for all of us to come together and rehearse properly. There was a bit of anticipation, and we might have been nervous, but the most important thing on stage was the energy we brought. So, whether practicing individually or as a group, we put in double the effort. I hope we were able to convey that passionate energy.

As for the show itself, it felt like many were seeing us for the first time, and what stood out to me was that the overseas audience seemed to be purely music fans. They love K-pop, but they also appreciate music in general, so you can tell that they were enjoying our performance, and that made us really, really happy.

And what was going through your mind in the moments before stepping onto the stage and the feelings afterward?

Ayane: We've experienced other stages, but the stage at KCON LA was something totally different. Even though it was their first time seeing us, [the audience was] truly enjoying the moment, and it was a very warm welcome.

But at the same time, it was very overwhelming too, and after we got off the stage, the adrenaline rush was something we'd never [felt] before, possibly due to the 360° stage setting. You were surrounded by the audience, and you could hear and feel their presence even more, so you had to really focus and deliver the best performance possible. Another thing different from Japan was that everybody had their smartphones out recording our performance. That also sort of brought up the focus under the notch, right? After everything was done, it was kind of a mixture of, you know, it's still being very nervous and exhausted, but we were able to cherish the moment.

Shizuku: It was also our first time performing our second single, "Hi-Five." So there was a lot of focus, and it was an important performance for us in that sense, too. When we went on stage, we thought, Okay, let's go out there and turn the audience into our fans.

**I’m glad that you brought up "Hi-Five," because this vibrant composition is a fitting continuation of your group's musicality. What significance does this new song and project hold in your career, and what do you hope to achieve during this era that you couldn't while promoting MIRAI?**

Miu: We learned many things from that experience [of releasing MIRAI], so [for Hi-Five], we made sure to discuss the performance aspect but also how we can improve as a team and further our teamwork. We ensured that our mindset going into the practices was aligned, and while we don't believe we have perfected it just yet, we feel that we are heading in the right direction. I think looking at some of the dance practice videos, we can see how much we've improved from "Click" and MIRAI.

Rinon: It’s our first summer song as a group so it’s very special, but it’s also a song where [listeners] can always celebrate summer with ME:I. We'll continue to put out music throughout our career, but each summer, we'll be able to look back and think of "Hi-Five" as our quintessential song for this season.

Living through summer means welcoming new beginnings and a celebration of joy, both of which "Hi-Five" captures perfectly. How do you think this reflects on ME:I's artistic identity?

Ran: When we recorded "Click," we didn't know what kind of group we were, and we weren't sure about the concept or the [creative] direction, but it was really well put together, with the dance breaks and the outfits we wore. I feel that, both visually and musically, "Hi-Five" captures the personalities of each member more than "Click." Even in the video, you could see different facial expressions and our personalities [captured] through our clothes. This song gives another new twist to ME:I.

What does it mean for you to know that people — not just your fans — can perceive and enjoy everything you create while on stage? And what’s the overall emotion you aim to convey through your music to create a lasting impact on listeners?

Keiko: We all have unique voices — that's what I love about this group because there aren't two members with the same voice. Especially when we harmonize, and I think that comes out very well in "Hi-Five." So, when we perform, the audience can enjoy our vocal colors, almost like a 3D sound system, and immerse themselves in that.

Kokona: We are a large group and I believe that's our strength in giving power to our performance, and the audience can perceive it. This comes out through not just the singing but also our choreography. We create big formations, and each of our moves [reflects] the essence of each member, so it transforms into this powerful energy we want to convey.**

Last month, ME:I celebrated 100 days since debuting. In a video commemorating this milestone, Momona said, "I think my love for the group grows, and I don't know what the future holds, but I hope it's a place I can have fun. ME:I will create the best place you can go." How are you pursuing the creation of this future? Are you envisioning it step-by-step or focusing on a long-term goal?

Momona: We do a lot of different jobs, but at the end of the day, we are artists and idols. Music is at the core of what we do as a group, and we should not forget that. We hope one day we can perform in a venue big enough to bring many fans and watch us, somewhere like a dome, perhaps. That's our long-term goal. We also want to have more and more songs so people who may not know us yet will get to do it and we want to make sure that our fans can enjoy them as well.**

Ultimately, we hope to become a group loved by many people and also have enough songs to perform a full concert. We will continue focusing on the musical side and aim to expand our discography.**

And what’s ME:I’s next dream?

All of them: We want to win the New Artist of Year Award at the Japan Record Awards! [Laughs.]

Miu: When we discussed our goals, we came up with participating in big television programs that we have here [in Japan] at the end of the year. We want to perform on those, or maybe we would like to go on a world tour. Personally, I would really like to come together with our pets, so we'll have a pet party as a group. [Laughs.] Also, it would be nice to visit someone's parents' house and hang out.

When Korean hip-hop trio Epik High released their debut album, Map of the Human Soul, in 2003, the world seemed completely different.

"Can you believe we didn’t have smartphones? I can’t imagine, I can barely remember," says Epik High frontman Tablo over a video call from Seoul.

Yet, those are the years the group aimed to recall in their first mixtape, Pump. Musing on their beginnings, the trio — also composed by Mithra Jin and DJ Tukutz — breaks free from their usual formulas in favor of fluid and raw tracks, as can be seen in the single "Antihero."

"We wanted to create like we were rookies again," Tablo says. "We didn't want to think about the path too much, although we did make references to certain songs from early albums because it's fun."

Released in June, Pump is a testament to Epik High’s ability to reinvent themselves. Over 10 studio albums, four EPs, and a handful of special releases , they remained a pivotal group in South Korean music. Through chart-topping hits like "Fan," "Fly," "It’s Cold" with Lee Hi, and "Born Hater" featuring rappers Beenzino, Verbal Jint, B.I, Mino, and Bobby, they helped popularize hip hop and rap in a country dismissive to those genres. Their insightful and honest lyrics encouraged larger discussions about mental health and social issues, inspiring artists such as BTS and B.I. And Their message and music led to global acclaim as well: In 2016, Epik High became the first major South Korean act to perform at Coachella; they would perform again in 2022.

To celebrate another year of growing success, the band recently embarked on a world tour. After crossing Asia and Australia, they kicked off the first out of 23 shows in North America on Aug. 22, in Vancouver, British Columbia, and are set to play in Los Angeles, Houston, Chicago, Orlando, Boston, and other U.S. cities throughout September.

Ahead of the tour, GRAMMY.com caught up with Tablo to chronicle this distinct moment in their careers, how to maintain longevity as a band, and living a life worthy of a K-drama.

This interview has been edited and condensed.

Epik High just released their first mixtape. In previous interviews, you've defined 'Pump' as a mixtape because, sonically, it’s very different from your studio albums and EPs. Why are you exploring this format 20 years into your career?

We felt kind of lost as we were leading up to our 20th year, which is ironic. On the surface, it looked like we had it all together, because we were doing our 20th tour and we had a movie [showcasing the group's 20th anniversary concert] out, but it's a scary number. It was scary when we hit 10, but hitting 20 — when a human hits 20, they're like, I'm an adult. Now, what do I do with my life?

Epik High turned 20, and we [started wondering], What would we do if we were back to our first year and no one knew us? If we didn't know how to make music the way we know now? What kind of album would we create? We [thought], A mixtape, just free flowing and doing whatever we want, and breaking all the rules. Not music rules, but Epik High rules, because we've developed some of them over the years.

What are some of these rules?

Well, it's not necessarily rules. What I said to my members was, "I think our biggest weakness is that we know too much." Over the years, we've gained so much experience and our skill level has gone up to the point where we know exactly how to craft a hit, and we know exactly what kind of songs will speak to what kind of audience. Knowing all of this typically would be a good thing, but for us, it's our disadvantage — because we will immediately go to those decisions, instead of exploring something new or risky.

It took [the members] a while to accept that. I had to drag it in, and then they came to me, "You know, you're right. We do feel like that." And I was like, "Let's write these things down that we don't want to do." All of them were things that we usually do, like, let's not just go to a famous feature, because that's such an easy thing that we know how to do. Let's not make big melody hooks that we know will work. And then we just went with that, which in itself is very risky, because we didn't know how the audience would react.

Judging by our streaming, usually hit songs spike like crazy in the first couple days, and then fall off because a lot of people only listen once or twice. And then there are songs where less people listen because it's not commercial or it's not catered to everyone, but they listen over and over again, and that's what we're seeing with this album. It’s a very interesting phenomenon, and something that actually makes us very happy.

I noticed that 'Pump' is quite different from the music that you have been doing lately. You need to spend some time with it to understand what's going on and to find its magic. It's not an album of easy hooks, like you said. Do you think you guys were revisiting the Epik High of 20 years ago, or that you were rewriting that era, doing what you wish you had done?

There's both. We wanted to create like we were rookies again; we didn't want to think about the path too much, although we did make references to certain songs from early albums because it's fun.

But we don't ever regret things, or wish we could go back to a certain era, because there was a lot of good stuff, but there were also a lot of terrible things that we don't want to ever revisit. So, we're more focused from today on.

Thinking back to 20 years ago, what are some of the changes you witnessed, either in music or in yourselves?

Literally, the entire world has changed. When we started, people were still dropping cassette tapes. Now, cassette tapes are something fun that artists do as a collector's item. We didn't have streaming. We didn't have social media. I'm sure some people who are reading this interview can't even fathom, but we did live in a world without any of that.

The downside is that it was very, very difficult to get our music to audiences. To get one listener was almost an impossibility, so we were forced to go out and perform. Back then, hip-hop was not accepted at all [in Korea]; it was just not a genre that people liked. And because we didn't have any stages to go on, we performed at a zoo, we performed at clubs with 13 people in there, we just had to do that because that was the only way to get our music out.

And the huge upside, though, is that, because we developed our skills performing to an audience that was either confused by us or didn't like us, we had to make them understand the music and make them vibe. We developed a very specific skill set that is really hard to attain. I think that's why, 20 years later, we're still able to headline festivals and to do these big tours, and people have a really good time at our shows.

Nowadays, a lot of times musicians will feel satisfied with their streaming numbers, or with their social numbers. They might not feel that it's necessary to get out there and to perform in front of 10 people. I'm sure none of them will perform at a zoo.

This mixtape’s single, "Antihero," approaches people’s perceptions and misconceptions about Epik High. When someone gets famous, they are either idolized or demonized — we see that a lot in the Korean music scene, specifically in K-pop, where fans even call artists "idols." What do you think about that? Is this related to the message you wanted to convey?

"Antihero" is less "I'm an antihero," and more "You see me as an antihero," where you may like me, but you don't fully like me. There's always some flaw, or some weakness that you're looking for, and that's sort of the stance of the song.

Epik High has had a lot of anti[fans] over the last 20 years, and at the same time, though, we provide a lot of entertainment to these antis. They would literally have nothing to do if we didn't provide them with something to get angry about, or to harass us about. In a way, we're sort of these twisted heroes to them as well.

That's why, if you look at the music video, [there is] a hero part, and then a villain part, because those are the two sides of an antihero. But that's also the two sides of any star, or any person, actually. Some people choose to see the good parts of you, but some people will choose to ignore all of that and see just the parts that seem dark. I think that the song is touching on all of that.

The lyrics to "K-drama" use Korean TV dramas' vocabulary — like "dramatic reversal" and "OST" — to talk about real life. What do you think about the image that South Korea displays in these shows?

I'm a huge fan of K-dramas. It's just very fun, and always has you at the edge of your seat. I don't know if people outside [of Korea] think that, if you come to Korea, you're immediately stepping into a K-drama. A lot of people get deluded and think, like, all Korean men are perfect.

But just the same, a lot of people outside the U.S. think that, if you go to L.A., it's going to be like a Dr. Dre music video, or a Snoop Dogg music video. And that's just one depiction of one part of a very complicated, beautiful, and complex place.

There's always truth in fiction, so you will discover elements of K-dramas when you come here. But if life was a K-drama… A lot of K-dramas are really tragic, the plot twists. Although I will say, I've been embroiled in the TaJinYo scandal [Editor's note: Starting in 2010, Tablo was victim to a smear campaign that accused him of faking his bachelor's and master's degrees from Stanford University. The school came forward multiple times to confirm his accomplishments, and eight TaJinYo members were sentenced to prison.], and there were actual directors, even overseas, who wanted to turn it into a drama or a movie. So, I guess I did live a life that's like a K-drama, true with heroes, villains, and victims. It was crazy.

Why hasn't it become a series or a movie yet? Do you plan on making something like that?

Well, it's a very tricky story to tell. It's a timeless story, because it's about the internet, and it's about hatred and idolization, but it's not an easy thing to turn into a fictional story.

Do you feel like it would be weird to see your life depicted on screen? Or do you already feel that, since a good part of your life has been public?

I am very good at keeping myself and my family detached from our public persona. But I don't mean to say that Tablo or Epik High are not an actual version of ourselves. It's just that Epik High is different in that, when we come off stage, we don't experience that huge drop off.

On stage we have a very specific goal, which is to make the audience have a great time. Nothing else is on our minds. And because of that, when we come off stage, there's no high to come off. We finish the concert and we're home 20 minutes later, doing dishes and vacuuming. I’m not kidding. Epik High is notorious for not having after parties, and we will just come home after a huge stadium concert and watch YouTube with our kids, or take out the garbage.

It keeps your ego in check.

Yeah. When we first became famous, we probably did have a period where we thought, This is about us. But very quickly we realized that, if this was about us, we were not going to have longevity, because that fades. But if you keep it about the audience, as long as they're there, you know that it won't change.

Since you talked about longevity, what are the most important things for a band to stay together and to still be relevant and innovative after 20 years?

Over the last couple of years, a lot of huge brands in Korea have invited me to speak to their companies. I think they look at us as a case study on the longevity of a brand, or how to stay connected for a long time. And I've declined, because speaking is not something I wanted to do, but it made me think, What is it?

First of all, you have to have no "yes men" around you.This is a very simple, but also extremely difficult thing to do, because people need an affirming environment, and that's not a bad thing, right? It's a very thin line between a supportive person, and a person who just tells you what you want to hear.

Epik High has absolutely zero of those people in our rooms. In interviews and stuff, the three of us almost seem like we hate each other. We're never not fighting, and we're doing it on screen, so imagine what we're like off screen.

Also, our staff [is] a very dedicated group of people, and we're all very, very honest — from our engineer to our art guy. Most of the people that we work with have been working with us for a long time, and none of them are scared to tell me, "Tablo, that outfit ain't it. Your hair ain't it." Or, "Tablo, your voice sucks right now." Or, "these lyrics are terrible." We're all very honest, and I think that's key to longevity.

An artist's career is sometimes destroyed by outside forces. But I tend to believe that, in a lot of cases, artists' careers get destroyed by the artists themselves. It's not their fault, but when you're constantly told what you want to hear, instead of what you need to hear, it's impossible to grow. If the people around you actually care for you, they will never prevent you from experiencing things, which is necessary for growth.

Looking ahead to the next 20 years, is there anything you want to do that you haven’t done yet?

We actually had this conversation lately: Wouldn’t it be really cool if there was a Korean hip-hop group who stayed together until they were grandpas? And we’re on stage with gray hair, but we’re still super good. And people will see us on TV or so, and will be like, "Those grandpas are dope!"

A lot of young artists tell us that they started music because they listened to Epik High. But later on, after they become big stars, they tell us that now we inspire them because we show that it’s possible to do [this] for over 10 years, 20 years, and still do what you want to do.

We never had that. We didn’t have anyone to look up to, any [groups] who stayed together and [kept making] music at the same level that they always did, so we were really scared. Hopefully, us becoming dope grandpas in the future will show people that it’s okay. It’s okay to just keep doing it.

Although they have yet to release an album, six-member girl group KATSEYE has already racked up a passionate global fanbase. Those fans have eagerly followed KATSEYE's journey so far, which span nearly three years and multiple continents.

KATSEYE is the result of a highly anticipated, first-of-its-kind partnership between American label Geffen Records — which counts Olivia Rodrigo and Camila Cabello on its roster — and HYBE Entertainment, best known as the home of BTS and subject of a new GRAMMY Museum exhibit. Thanks to the collaboration between two cultures with a track record of turning artists into household names, KATSEYE's Sophia, Manon, Daniela, Lara, Yoonchae, and Megan are poised for the global stage.

"This is the most ambitious project both HYBE and Geffen have ever been involved in," Geffen Records President Tom March (now Chairman and CEO of Capitol Records)said during a 2023 press conference, per Weverse Magazine. "We are hoping to create something that genuinely moves culture with a group that makes magazine covers and headlines festivals."

Ahead of the Aug. 16 release of their debut album SIS (Soft Is Strong), GRAMMY.com rounded up everything you need to know about the rising stars, from their in-depth training process to their global roots.

They Competed Against More Than 100,000 Hopefuls

In late 2021, HYBE and Geffen kicked off a worldwide search for potential members of the group that would become KATSEYE. "In the city of dreams where stars are born, an unprecedented girl group will rise," boasted the promotional video.

Through online and offline auditions in 15 cities around the world, more than 120,000 talented artists tried out. Only the top 20 girls were selected to become finalists — an acceptance rate tougher than elite universities.

Revealing the finalists at an August 2023 press conference in Los Angeles, HYBE Chairman Bang Si-Hyuk said, "I have wanted to form an international group based on K-pop methodology for a while," per Billboard.

Geffen Records CEO John Janick shared the same sentiments. "To develop a global group with Bang, with the best of K-pop methodology, and our Geffen team, is truly special and will bring to life a first-of-its-kind experience in music," he said during the press conference.

They Went Through The Intense K-Pop Trainee System

The 20 finalists were enrolled in what was dubbed "The Debut: Dream Academy," an "X Factor"-style survival show that was broadcasted in real time on social media for nearly three months in late 2023.

"Dream Academy" offered the finalists a crash course in the infamously rigorous K-pop trainee system, one where aspiring stars train intensely in everything from vocals to dance and foreign languages, all with the aim of developing into well-rounded artists. Through a combination of audience voting and evaluations from a panel of experts (which included executives from HYBE and Geffen), the show whittled down the 20 finalists to the debut group.

The show consisted of three rounds with distinct "missions" that tested each finalists on their dance and vocal prowess, as well as their teamwork and performance skills. The contestants were primarily based in Los Angeles but also had the opportunity to travel to South Korea to train directly in HYBE’s Seoul headquarters.

The final lineup was revealed live on Nov. 17, 2023, with a studio audience in Los Angeles and thousands of viewers watching in real time. The energy and anticipation was palpable as each member was announced one by one to tears of joy and screams of excitement.

"I can’t even put it into words," expressed Lara after she was selected as part of the final lineup. "This is everything I ever wanted in my entire life."

The official group name of KATSEYE was also revealed on that date, signaling the transition from the trainee process to becoming a full-fledged group.

The entire training and development journey was documented by Netflix and will be released as a series under the name "Pop Star Academy: KATSEYE" on Aug. 21. The show promises to "pull back the curtain on the rigorous process of making a global music sensation."

KATSEYE Members Hail From Around the World

The six members of KATSEYE represent a mosaic of cultures and backgrounds from around the world. Sophia is from the Philippines, while Yoonchae was born in Korea. Manon was raised in Switzerland to Swiss Italian and Ghanian parents.

The three American members also have global roots: Daniela is Venezuelan Cuban, Lara is Indian, and Megan is Chinese Singaporean.

While KATSEYE’s music is sung in English, the members are also fluent in their fair share of languages, allowing them to connect with fans around the globe.

The diversity of the members even influenced the group name. KATSEYE is an alternate spelling of the stone cat’s eye, which "shows off a variety of colors depending on its direction, much like all of us who come from all different cultures and backgrounds," the members told Sweety High.

Industry Elites Form Part Of Their Team

Even ahead of their debut album drop, KATSEYE has already worked with some of the most prominent names in the entertainment world.

The group’s creative director is Humberto Leon, best known as co-founder of iconic fashion brand Opening Ceremony. His vision helped create "Dream Academy’s" whimsical Art Film of the finalists performing inside an empty school; he’s also had input on all the creative decisions for the group, from styling to posing.

"I want each and every one of them to stand out," Leon told the New York Times.

KATSEYE’s first single, "Debut", was produced by three-time GRAMMY winner and OneRepublic frontman Ryan Tedder, who has written songs for icons like Taylor Swift and Adele.

Their Labelmates Are K-Pop Superstars

As part of HYBE Entertainment, KATSEYE is the successor to some of the biggest names in the K-pop world. HYBE is best known for launching BTS in 2013, when the label was still known as Big Hit Entertainment.

HYBE has since expanded and launched groups including TOMORROW X TOGETHER, LE SSERAFIM, and New Jeans, who have all achieved massive heights, from topping the Billboard charts to performing at Coachella.

Ahead of the "Dream Academy" competition, HYBE artists imparted words of wisdom to the contestants in a video letter. "The more challenges you face, you’ll have more worries," said Le Sserafim member Sakura, who made her own debut through a similar competition show in South Korea. "I think the most important thing is to have fun!"

Read more: 5 Takeaways From The GRAMMY Museum’s "HYBE: We Believe In Music" Exhibit

KATSEYE's Music Is About Self Confidence

Although the group has released just two singles so far, KATSEYE’s music has already honed in on themes of confidence and empowerment. The first single, aptly titled "Debut," is an upbeat pop anthem that boasts the group’s self-assurance despite being industry newcomers. Second single "Touch" is an R&B and drum-and-bass-influenced ode to independence.

Their debut single is "really just about sisterhood and being confident and strong and powerful and the best version of yourself," Lara told Teen Vogue.

Listeners can expect a continuation of this theme on their upcoming album, SIS (Soft Is Strong). "Our debut comes with a lot of confidence and a lot of willpower and passion," Sophia hinted in the group’s intro film.

In 2005, South Korean producer and songwriter Bang Si-Hyuk (aka "hitman" Bang) founded Bit Hit Entertainment. Only eight years later, he finished assembling what would come to be the label’s groundbreaking boy group, BTS. The rest is history, now chronicled in "HYBE: We Believe In Music," the first full-floor K-pop exhibit at the GRAMMY Museum, which runs through Sept. 15.

Following the success of Bit Hit’s premier act, and that of other artists under acquired labels SOURCE MUSIC and PLEDIS Entertainment, the company eventually evolved to become HYBE in 2021. "I think HYBE is very special in that they have gone beyond being just a K-pop company," says Kelsey Goelz, curator of the exhibit. "They have many different sub labels. They’ve come to America and gotten involved in the music business here, and then they’re also working in AI and gaming."

But beyond its global presence, one of K-pop’s ever-captivating elements is the sheer amount of blood, sweat, and tears that goes into making it possible, even when HYBE artists like ENHYPEN, SEVENTEEN, and LE SSERAFIM make it look easy. There’s a core humanity to this work ethic and dogged tenacity — to the level of artistry in general — that speaks to K-pop fans around the world.

While HYBE’s growth shows no signs of slowing down yet, the GRAMMY Museum exhibit takes a look back on the entertainment company’s legacy thus far. Read on for the five things we learned from the "HYBE: We Believe In Music" exhibit.

All photos Courtesy of the Recording Academy™️/photo by Rebecca Sapp, Getty Images© 2024.

In A Decade, BTS Built Themselves Into A Global Phenomenon

Let’s start with a history lesson: despite being around for almost a decade, HYBE’s story begins in earnest with the formation of one of K-pop’s breakthrough acts, BTS, in 2013. (At that point, the company was still a standalone label.) Led by rapper RM, the seven boys hopped off a yellow school bus with a bratty, adolescent attitude — and that’s where the GRAMMY Museum’s exhibit picks up.

There’s a lot that happened between then and their seven Billboard No. 1s. Luckily, a wallpapered timeline breaks down all the major global highlights: the first U.S. tour, their UNICEF campaign, a landmark performance on "Saturday Night Live," and the announcement of BTS as TIME’s 2020 Entertainer of the Year, to name just a few.

Sitting in the middle of the museum floor is a glass case of polaroids — in them, Jin, Suga, j-hope, RM, Jimin, V and Jung Kook toss up peace signs while sporting novelty hats designed to look like BTS’s lightstick. Nostalgic and deeply silly, these photos date back to 2017 and 2018, serving as a reminder of the colossal strides BTS has taken in the intervening years.

Learn more:

It Takes A Village To Make A K-Pop Music Video

When K-pop music videos are delivered to fans, they’re already finished products. Behind the curtain, it’s hard work to make them polished and perfect. Collected ‘fits and accessories throughout the exhibit get you up close and personal with creative details; then, to showcase the costumes in action, they’re paired with screens that play the finalized MVs.

Each customized artifact is an expression of its respective group’s individuality, from ENHYPEN’s King of Pop-inspired "Sweet Venom" ensembles to BOYNEXTDOOR’s slouchy cabbie caps. Other standouts include belts and chains from &TEAM’s angsty "Samidare," fromis_9’s opera-ready "#menow" jewels, and chunky necklaces featured in ILLIT’s runaway single "Magnetic."

Everything Comes Back To The Music

HYBE’s proffered ethos is "we believe in music" — this motto gives the special exhibit its name, while also serving as a mission statement.

In a series of recorded interviews on view in the exhibit, HYBE’s idol songwriters share their process for and perspective on making music. The main takeaway: Inspiration comes in different forms. While writing, BTS’s j-hope pictures ideas as tree branches that sprout outward, while RM sees his rap verses as a realized world to live inside.

Literally, too, their lyrics mark the passage of time. If you’ve ever wondered why Suga circles back to motifs across the years, the rapper has all the answers for you here.

There’s also a conversation with WOOZI of SEVENTEEN, one of the K-pop industry’s most prolific idol composers with more than 150 credits to his name. It’s a penchant for plain language, he says, that makes the lyrics he writes really sing; the band’s beloved B-side "Hug," for example, gets its potency from everyday words and phrases. TOMORROW X TOGETHER’s Yeonjun likewise fills visitors in on the origin story behind co-written "Maze in the Mirror," a misty reflection of their tough trainee days.

This isn’t to say they haven’t had help, of course. Nearby, clips of HYBE producers Pdogg, BUMZU, and ZICO, settled in their respective studios, walk us through how the instrumentals for songs like BTS’s "ON" and SEVENTEEN’s "Lilili Yabbay" came to be. Peruse at your leisure — for those curious about the creation of K-pop’s biggest hits, this corner of the exhibit could easily take up the better part of a trip.

Fans Make K-Pop Special

To some fans, K-pop is more than just the music. As a sincere few explain in an exhibit video, K-pop is something that has profoundly touched their lives, providing the basis for genuine friendships and community. Fans get to give a little bit of this positive energy back to their idols, particularly through online platforms like HYBE’s Weverse, where users can interact directly with artists. "I don’t think there’s another genre like K-pop that allows and enables that communication," Goetz, the curator, tells GRAMMY.com.

In true form, the GRAMMY Museum offers an interactive experience. At the exhibit’s opening event, fans posed next to their idols (digitally) in a photo booth, yelled K-pop’s national anthem into prop mics, and hit the dance floor with perfect renditions of LE SSERAFIM’s "Perfect Nights" choreography.

Before heading out, visitors could leave a mark of their own on the exhibit: after writing a message to their favorite artist via pastel Post-its and baby No. 2 pencils, fans loudly and proudly displayed them on the walls.

HYBE’s Story Is Just Getting Started

According to another timeline, the story so far has three chapters. There was the era of Big Hit Entertainment, when BTS came into the picture; then, the establishment of HYBE, with its many labels. Finally, as the U.S. and Latin America enter the fold, we’re in the end game. Representing this future is L.A.-based girl group KATSEYE, a collaboration with Geffen Records and the most recent inclusion to HYBE’s roster.

But K-pop hasn’t entirely let go of its "K" just yet, if the special guests for the exhibit’s launch were any indication. As the sun set over the GRAMMY Museum’s rooftop terrace, rookie boy group TWS kicked things off; before performing high-energy five songs back to back, the six boys charmed the audience by cutely cruising through a moderated conversation in English and Korean.

As the exhibit reveals, there’s a reason HYBE — and K-pop — went global in the first place. On top of the spectacle, their success has everything to do with the work that goes into making the effort seem effortless. Audiences root for real people, and that's what makes them keep coming back.

Held from July 26-29 at the Los Angeles Convention Center and Crypto.com Arena, KCON 2024 showcased an array of performances from K-pop stars, with notable acts including NCT 127, ENHYPEN, Taemin, ZEROBASEONE, and g.o.d. The event marked its largest success yet, attracting fans worldwide both in-person and through digital platforms.

KCON, the biggest K-pop show in the world, has come a long way since its inception in 2012 at Irvine's Verizon Wireless Amphitheatre with around 10,000 attendees. Over a decade later, the music festival and convention event has expanded globally, but Los Angeles remains special as its origin. This year, KCON proclaimed its biggest success yet, stating, "Over 5.9 million fans from more than 170 countries enjoyed KCON L.A. 2024 both at the festival site and through digital platforms." It was also broadcasted for the first time on the CW network in the U.S., and by its usual broadcaster Mnet in Korea and around the world.

This year's KCON featured a varied lineup for performers. The finale headliners were NCT 127, who last attended KCON L.A. in 2017 in their early days. They were joined by ENHYPEN and Taemin as nightly headliners. Rookie groups like ZEROBASEONE and Boynextdoor proved to be crowd favorites, while Y2K icons like g.o.d surprised the whole audience with 2000s hits. Despite fewer female performers, dynamic sets from NMIXX, Somi, and StayC made a significant impact.

It was generally a big year for rookie acts, with a variety of Korean, Japanese, and Filipino newer boy bands and girl groups making appearances throughout the weekend. As more senior artists hold solo tours, with many touring simultaneously to KCON, there was ample time to meet newcomers.

Even L.A.-based Katseye, Hybe X Geffen Records' new girl group that features members from around the world, had a moment as the openers for the final night, performing live in front of fans for the very first time.

Read on for memorable highlights, performances, and other insights from the annual event.

g.o.d Ascend To New Heights

Although the styles of the '90s and early aughts are trending, it was perhaps a bit of a surprise —to the crowd and artists alike — that one of Korea's early boy band greats could get the whole stadium up out of their seats, clapping, and swaying along to the R&B stylings of g.o.d.

Formed in 1999, the quartet took the stage in suits and began their set with the ballad "Road" followed by "Lie." While many fans came out specifically to see them, bearing banners and light blue balloon-shaped light sticks in support, it was the group's comfortable affability that made them one of KCON's most talked-about acts.

By having fun and being earnestly engaging, they won over a crowd largely made up of people unfamiliar with their discography. When they performed "Sky Blue Balloon," a song dedicated to their fans, everyone clapped and sang along. As they turned on their phone flashlights ("Give us 1% of your phone battery!" quipped Cali-native Joon Park), the audience basked in the poignant closer "One Candle," a song well-known in South Korea as a democratic anthem, creating a warm, memorable glow.

ZEROBASEONE Lead Rookie Power

When they performed at the 2023 event, ZEROBASEONE, or ZB1, were charming newcomers who had just come together during K-pop competition show, "Boys Planet." While ZB1 are not technically rookies anymore, they're still relatively new kids on the block compared to many senior acts. Despite their relative youth, at KCON LA 2024, they were one of the biggest draws for fans in attendance. Throughout the weekend, it was near impossible to move a foot or two without spotting one or two (or 10!) dedicated "Zeroses" cheering them on with a light stick that looks surprisingly similar to a rose-shaped engagement ring.

For fans lucky enough to attend multiple nights of KCON LA 2024, ZB1 performed both on Friday, July 26, and Sunday, July 28, showcasing fan favorites like "Sweat," "Crush," and "In Bloom." They also shared a teaser for their new EP, Cinema Paradise, which will drop in August.

Along with ZB1, it was a big weekend for some other newer boy bands: Boynextdoor’s catchy, witty performances were some of the most-talked about, while TWS’s earworm hits had the whole arena singing along.

ENHYPEN Fulfill Dreams And Enhance Fantasies

Coming to KCON right after touring in the U.S. earlier this year could have meant repeat performances for ENHYPEN's "Engenes" to witness, but instead, the vampiric septet charmed with new energy just days after releasing their latest EP, Romance: Untold, on July 12.

Surprising the crowd with the English version of that album's single "XO (Only If You Say Yes)", ENHYPEN ran through some of their biggest hits, seducing listeners with "Bite Me" and charming them with the picture-perfect "Polaroid Love."

They also, along with Zico and Taemin, hosted one of KCON's unique "Dream Stages," coming together with fan dancers to perform the English version of last year's smooth "Sweet Venom."

Read more: Meet ENHYPEN, K-Pop's Latest Breakout Boy Group

A Welcome Return For NCT 127

Seven years since their last KCON LA performance, NCT 127 appeared triumphant as both openers and closers on the third night of the show. They kicked the night off (literally) with their 2020 hit "Kick It," and returned at the end of the night to perform their new song "Walk," before renditions of hits "Lemonade," "2 Baddies," and "Fact Check."

It was a moment of glory for the team, who had spent much of their biggest musical eras without touring during the pandemic. Now that concerts are back, they've been touring heavily. When their planned world tour, "Neo City – The Unity," became an Asia-only tour, it felt like there would be no moment for Stateside fans in 2024. When they were announced as late-addition special headliners, NCTzens rapidly bought up tickets.

With the 127 members and their U.S. fans (plus many from overseas) reunited, the atmosphere was one of euphoria and exuberance as the members boisterously dominated the stage, making jokes and playfully engaging in a way that felt comfortable and assured in their performing prowess. It may not have been a full NCT 127 concert in LA, but it's clear that the stars and many fans are waiting for that.

Jeon Somi, Hyolyn & BIBI Shine

While groups are the bread and butter of K-pop, soloists have their own flair, and this year the fiery spotlight fell on the women. During the final night, the powerful dynamism of BIBI, Jeon Somi, and Hyolyn took over. Although BIBI's real set was the first night, she performed a expletive-free version of her hit revenge track "Bibi's Vengeance" before embracing Hyolyn.

Hyolyn, a soloist and member of girl group Sistar, forwent her own songs for the concert event and instead put her own sultry spin on LOONA's "So What" with a team of fierce dancers.

Jeon Somi rounded out things with her truly addicting dance tracks "Fast Forward" and "DUMB DUMB," along with the emotive "The Way." She then revealed the name of her new upcoming song, "Ice Cream" and charmed the crowd by teaching them a call-and-response chant: "Come get your ice cream," shouted one side of the arena. "Too hot!" returned the other before Somi realized with a laugh that the lyric actually was "Too cold!"

Read more: 10 K-Pop Rookie Girl Groups To Watch In 2023

Fiery Covers Galore

One of the special things about KCON is the emphasis put on historic K-pop songs and events, with remakes and covers being a major part of every KCON. This year was no different, beginning with the first day's concert featuring P1Harmony's cover of BTS's "Fire."

In 2016, when BTS performed "Fire" at KCON LA, the air was palpable with the feeling that something big was taking place. That set has often been cited as the moment many K-pop fans and music watchers realized BTS was on the brink of global superstardom. It was a fitting tribute to have P1Harmony, who had a major year on the festival and touring circuit, open up KCON LA with their own spin on the song the very first night of the event.

Other acts also put their own spin on both recent hits and older classics throughout the nighttime concerts. The third night featured an homage to girl groups: along with Hyolyn covering LOONA, ZB1 covered Red Velvet's "Psycho" and STAYC covered (G)I-DLE's "Queencard."

The Unsung Hero: The KCON Stage

A rather unsuspecting, warehouse-style room next to the main convention floor was the secret sauce that brought a special touch to revitalize the decade-plus event by making it a true day-long music festival.

While KCON LA had previously tried smaller nighttime concerts, concerts occasionally on the convention floor, and long-time had a meet-and-greet stage, this year's daytime KCON Stage that almost all artists visited was the sort of concert fans dream of.

While the headlining M Countdown concerts were certainly the highlights of KCON LA 2024, the KCON Stage provided an intimate moment for artists and fans to get up-close and personal. Kicking off each morning with auditions for the Dream Stage performances with Taemin, ENHYPEN, and Zico for their respective night's events, the KCON Stage featured concert sets from a variety of artists throughout the day. Each day's KCON Stage performances were a bit more relaxed and raw compared to the highly choreographed made-for-TV nighttime shows.

NMIXX, whose "Run for Roses" and "Dice" got the second night's crowd basking in their glory, was one such moment. The KCON Stage gave them a chance to bring some summertime fun with a bubble-blowing rendition of "Love Me Like This."

Even acts who are popular K-pop crowd pleasers but not part of the lineup for KCON's main concerts, like A.C.E and AleXa, had sets during the day. They, along with other acts like POW, Bibi, and Craxy, had KCON convention-goers perking up their ears at these unexpected concert moments.