BABYMONSTER, the “True” Embodiment of YG Girl Group Dialectic History…Combining 2NE1’s Skill and BLACKPINK’s Aura
[뉴시스=이재훈 기자] Some stages go beyond being consumed visually and become carved into the body as a massive vibration. Such was the scene created by YG Entertainment’s “New Classic” girl group BABYMONSTER (BAEMON) on the final day of the Seoul concert for their second world tour “CHOOM,” held on the afternoon of the 28th at Jamsil Indoor Stadium in Seoul. Driven relentlessly by the overwhelming musicianship of the live band from the intros to the outros of each song, the concert instantly broke away from the simple category of a concert and radiated energy hotter than any rock festival on a summer day.
The history of YG girl groups’ dialectic in which the thesis of skill built by 2NE1 and the antithesis of aura shown by BLACKPINK transcended rivalry and reached synthesis was proven true on stage. The appeal of the legacy built by previous generations exploded with a truly formidable force at the live concert.
Throughout the show, the six members held handheld microphones and showed off unwavering vocal ability. That does not mean their dancing was subdued. The members’ vocals, the texture of the sound, and the physicality of the dance formed a perfect unity, completing a stage with no gaps. The description “all-rounder,” encompassing vocals, dance, and visuals, rightfully belongs to the six members of BABYMONSTER. Each of them has center potential, and they proved with their own voices that the term “talented performers” is by no means a cliché.
The members’ solo stages reaffirmed just how much effort they have poured not only into rap and singing, but also into performance, proving that they are truly all-around entertainers. RORA’s “Havana” (originally by Camila Cabello) showed outstanding expressiveness and exuded classical elegance. ASA’s reinterpretation of “Temple” (originally by Baauer) was fresh yet sensual in the way she moved across the stage. PHARITA’s “Super Bass” (originally by Nicki Minaj) was rich with an intersection of elegance and sensual charm.
CHIQUITA’s mashup stage of “Buttons + Worth It” (originally by The Pussycat Dolls and Fifth Harmony) was sophisticated while never losing its confident attitude. With “RATATA” (originally by Skrillex & Missy Elliott & Mr. Oizo), RUKA exuded an overwhelming aura through the command she unleashed from the very moment her rap began. Through “Problem” (originally by Ariana Grande), AHYEON showed off her piercing high notes and the distinctiveness of her sharp rap, fully revealing her naturally lovable charm that overflowed with talent and was impossible to pin down.
Even when singing the ballad “Stuck In The Middle,” the individuality of the six lively members’ movements was clearly proven. BABYMONSTER and YG’s concert truly catches one off guard. It does not stop at displaying the overwhelming force of video or lighting, but digs into what the essence truly is. Through the stage, it proves why BABYMONSTER focuses on music itself more than the external activities pursued by other K-pop idols. Music is the most honest shortcut that pierces through both the outside and inside of the K-pop industry and moves forward with them.
The BABYMONSTER members danced and sang as if saying with their whole bodies that they have never not loved themselves dancing “CHOOM,” the title of the concert, nor the fandom MONSTIEZ, who support them. The deepest way for artists to respect themselves and their fans is, in the end, to dedicate the stage itself.
To face BABYMONSTER’s stage means being placed in a powerless yet ecstatic state in which there is no other alternative than to love them.
BABYMONSTER’s world tour, which began at the same venue on the 26th, is being held after one year and five months. The tour will head to five continents, including Asia and North America, as well as Oceania, Europe, and South America, which the group will visit for the first time since their debut.
2026. 6. 29.
