What does "anti-K-pop" really mean? It’s a question and almost a challenge posed by one artist who is determined to break free from the limitations often placed on Korean musicians. Meet BU-WAN, a Canadian artist who is taking inspiration from the K-pop model and applying it to his own music on his terms.
An artist with a clear vision and respect for what K-pop is doing globally, BU-WAN wants to create a space for listeners who like a balance of both. After debuting in February 2023 and as the co-founder of CLUB BOYBND their popular single “Kiss me thru the phone” soon gained traction, reaching millions of streams across multiple platforms.
You may have also seen him tour with the beloved Junny and BM of KARD, from which he’s taken valuable lessons to carry with him going forward. Now working on the anti-K-pop movement with the upcoming album Idols, BU-Wan is well aware of what works within the industry.
Besides the marketing model, he’s also shining a light on the current narrative of separating Asian artists into different genres purely for their ethnicity. “Just because an artist is Korean and makes R&B or hip-hop doesn’t necessarily mean their music needs its own separate label. At what point do we stop defining artists by their ethnicity and start recognising them for the music they’re actually making?”
While anti-K-pop may sound negative, it’s actually a challenge to steer narratives and experiment with sounds. “I’ve always loved challenging the norm, and I think anti-Kpop perfectly embodies that. I don’t want to dictate what it should look or sound like. I’d rather see how other artists interpret it and make it their own.”
Thoughtful and passionate, BU-WAN speaks at length on the brainstorms, experimentation, and hard work that have built him to where he is today. He continues to push himself; we spoke about his influence growing up in Toronto, the ideas around anti-K-pop, and more.
Having been raised in Toronto, how would you say the city’s music scene helped shape your influence on your own music tastes growing up?
BU-WAN: I think Toronto is one of the truest examples of a melting pot, and that really reflects in the music coming out of the city. The dark R&B sound was practically perfected there, and I genuinely believe the underground scene is home to some of the world’s next biggest stars.
When you’re surrounded by that kind of environment and some of the most talented artists in the world, you kind of have no choice but to figure out how to keep up. Artists like Kyle Wildfern and Seago are two of the most underrated talents coming out of Toronto right now.
I think once people start getting hip to who they are and discover the rest of the scene, they’ll realise that Toronto isn’t just Drake. There’s an entire community of hitmakers out there who deserve that same recognition.
When it comes to creating music, what are your own preferences? Be it what you’re listening to today or from artists growing up. What was it about music that made you want to make it your career?
BU-WAN: I think my musical preferences have generally stayed the same throughout my life. I grew up listening to a lot of punk rock and alternative music and eventually started exploring genres like R&B and Korean pop music.
Right now, I’m a huge fan of Teezo Touchdown. I genuinely love his music, but I’m also really inspired by the way he conceptualises each of his rollouts. Everything he does feels intentional, from the music to the visuals and the world he builds around each project.
I always tell people that Tyler the Creator made me want to rap, and Teezo Touchdown taught me how to sing again. I think both of them have had a huge influence on the kind of artist I want to be.
Back in February 2023, you debuted as the co-founder of CLUB BOYBND. Your single “Kiss me thru the phone” made quite the impact. Firstly, what made you want to co-found your own act?
BU-WAN: We were actually signed to a major label in Canada at the time, and we had been pitching “Kiss Me Thru The Phone” for about two or three years straight. Every time we brought it up, it either got pushed back or we were told it needed more work.
Being signed to that label was definitely challenging, but it was also a huge learning experience for us. We initially had another artist who was supposed to be featured on the song, but that ended up falling through because of timing. Looking back, I’m honestly so thankful that things worked out the way they did and that we ended up releasing it independently.
I think we were both nervous about how people would receive our first song, but deep down, we knew we had a hit on our hands.
The interesting thing is, if we had released it through the label or with the other artist, I think it would’ve been hard for us to know whether the success came from what we created or from the support we had behind us.
But we ended up doing it on our own, and seeing the response was such a validating experience. More than anything, it taught us to trust ourselves and our instincts. Sometimes you just have to believe in what you’ve created, even when the people around you don’t see it yet.
Having achieved millions of streams and building a fanbase, what kind of lessons did you take from that, and be able to continue over into this latest project?
BU-WAN: I think a lot of artists back in the day, and maybe even now, have this idea that the only way to find success in music is to sign a record deal and pray for the best.
One of the biggest lessons I learned from CLUB BOYBND is that even if I have to start all over again, I still have my militia. I’ve been fortunate enough to build a community of people who genuinely support BU-WAN, regardless of what I’m working on or what direction I decide to take.
I think the biggest challenge now is that I no longer have a partner to bounce ideas off of or collaborate with. Everything is coming directly from me, and although that comes with a lot of pressure, I also think it’s what keeps me on my toes and hungry to keep pushing myself.
It’s definitely a different experience, but I’m learning to embrace that responsibility and trust myself throughout the process.
You’ve opened for acts like Junny and toured with BM, so I imagine you’ve learnt a lot about not only your own performances but also how well they translate live. What is not only the funnest part of touring but something you were surprised to learn about live performances?
BU-WAN: Touring with artists like BM and Junny really teaches you that there are levels to this.
Looking back, I think I relied a lot on alcohol, being provocative, and just completely crashing out on stage to make our performances memorable. God bless Roc Lee for having to deal with all of that.
Now that I’m sober, I’ve really started to understand the importance of actually connecting and communicating with the audience. I’ve been focusing a lot more on delivering the songs properly rather than just jumping around on stage like a buffoon.
I think the most enjoyable part of performing is realising that you don’t necessarily have to do the most to leave an impression on people. Sometimes just being present, connecting with the crowd, and letting the music speak for itself can be so much more powerful.
Also, having performed in countries like Thailand, have you seen a difference in how audiences react?
BU-WAN: I definitely have, and honestly, I’m so grateful for the amount of love and support I received in Thailand.
For that show, I performed some CLUB BOYBND songs on my own for the first time, and the rest of my set consisted of unreleased demos and songs I’m currently preparing to put out.
I think what surprised me the most was seeing how much love people had for me, even when they were hearing some of these songs for the very first time. It really made me realise that the support I have out there is genuine, and that’s something I’ll never take for granted.
Thailand is easily one of my favourite places to visit and perform. I honestly can’t wait to go back, play more shows, and see everyone again. I miss them so much!
The aim with your sound is to bridge the east and west. Do you find that more artists are exploring that space now? And do you think what you learnt as a duo gives you a broader idea of what people want to hear and see?
BU-WAN: I think there are already artists doing exactly that. If you look at someone like Bachyard Ghost, you don’t really see many people who look like us navigating that space the way he is, and I think it’s exciting to watch him do what he’s doing.
I also think the restrictions and expectations go way beyond K-pop. It really comes down to how we’ve been tokenised in industries like film and music. Right now, I feel like we’re still looked at as somewhat of a novelty, and there’s definitely this expectation of what Asian artists should look like and sound like and what lanes we’re supposed to stay in.
But I think we’re starting to see those expectations bend, and it’s only a matter of time before they break entirely.
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| Photo credit: Jeong Seonghun |
It’s about time we start seeing Asian creatives being recognised not because we fit into some separate “Asian” category, but because the world recognises us for what we actually are. We’re creators, chefs, writers, musicians, and artists who just so happen to be incredibly proud of our heritage.
That doesn’t mean we should be defined or limited by it. We should be able to exist in these spaces without constantly being labeled or boxed into whatever the rest of the world thinks we should be.
You’re currently preparing for your solo album, KPOP IDOL. What specific vision and sound are you planning for this release? For those new to you, how would you describe who you are as an artist?
BU-WAN: I think my album KPOP IDOL sits somewhere between satire and an homage to one of the biggest music genres in the world.
The concept actually goes back to this one time my mom told me there was a JYP audition happening, and I told her I wasn’t interested because I thought K-pop was too feminine. Looking back, I think it’s hilarious, especially considering the direction my career has taken. That’s also why, if you follow my content, you’ll probably notice JYPAPI making an appearance every now and then.
Sonically, the album takes a lot of inspiration from how K-pop songs are structured. I’ve always been fascinated by how they can incorporate so many different genres into a single song and somehow make it work. But the actual sound comes from all the different music I’ve grown up listening to and the experiences I’ve had throughout my career.
I call what I’m doing anti-K-pop. The simplest way I can explain it is that while K-pop is often defined by its pursuit of perfection, anti-kpop is about finding beauty in imperfection. I think that pretty much sums up who I am as an artist, too.
The title itself is also tied into ideas you’re exploring around 'anti-K-pop'. What does the word 'idol' mean in context for this project?
BU-WAN: I think there’s something inherently provocative about someone like me calling themselves a KPOP IDOL. It’s not necessarily about making fun of what an idol is supposed to be or trying to reclaim that title for myself. I think it’s more about challenging people’s expectations of what a Korean artist can look and sound like.
My goal has always been to push the needle and show that there’s more than one way to exist in this industry. I don’t think we should have to fit into a particular image or sound just because of where we come from.
You’ve described ‘anti-k-pop’ as a subgenre you want to showcase. Do you feel it allows you to explore a more raw side that is perhaps not so sweetened?
BU-WAN: Every song I’ve created, and every song I’ll continue to create, starts in a bedroom or a home studio. The people I work with, down to the engineers mixing and mastering my projects, aren’t necessarily working with million-dollar setups, but they’re talented enough to achieve that million-dollar sound without one.
I had no real musical background before pursuing a career in music, apart from a couple of years in choir. A lot of what I’ve learned has come from figuring things out as I go and surrounding myself with people who are incredibly talented at what they do.
To me, anti-kpop is synonymous with anti-pop in the sense that it’s a reverse-engineered take on traditional pop music. It’s not necessarily about making something sound rough or unfinished on purpose. It’s about approaching something familiar from a different perspective and understanding that you don’t need a massive budget or a perfectly polished process to create something incredible.
I’m intrigued by the term 'anti-K-Pop'. What made you choose that particular phrase? Is it a case of exploring the possibilities for those artists out there who want to elevate and push a fresh new direction?
BU-WAN: I want anti-kpop to be defined by whoever identifies with it. It doesn’t belong to me, and I don’t think it should.
I’ve definitely been pushing this narrative since the beginning of my career, and it’s interesting because I’m starting to hear people actually use the term in meetings now.
I’ve always loved challenging the norm, and I think anti-kpop perfectly embodies that. I don’t want to dictate what it should look or sound like. I’d rather see how other artists interpret it and make it their own. I’m just glad I got to coin the name ANTIKPOPSTAR. <3
The K-pop rollout has proved successful in terms of marketing, i.e., photocards and light sticks. We’ve seen it used with artists not in K-pop, i.e., Bang Yongguk and Epik High. Is this project to show that this can still be done without being tied to the gloss of that polished K-pop sound?
BU-WAN: I’m deliberately borrowing K-pop’s marketing strategies because I think one thing a lot of Western artists lack is fan service.
K-pop might go a little overboard with it sometimes, but on the other hand, I think some Western artists don’t pay nearly enough attention to that side of things. I’d like to find a middle ground between the two.
I genuinely want to work hard for the people who support my career, and I want to make the experience of being a fan as entertaining and interactive as possible. Whether that’s through photocards, merchandise, or the experiences we create at shows, I want people to feel like they’re part of something.
At my shows, I do meet-and-greets and hi-touch events, but a lot of that is possible because the promoters give me the space and opportunity to do so. I’m really grateful for promoters like CHUNKYBUDDY who understand what I’m trying to accomplish and help me bring those ideas to life.
I don’t think you need to make traditional K-pop music to appreciate how well the industry connects with its fans. There’s a lot we can learn from that.
You’ve described this anti-K-pop genre as appealing to both new K-pop fans and lovers of alternative sounds. How do you think fans of both would respond to the idea of being “anti-K-pop”? There can already be a lot of stereotypes and assumptions around K-pop fans, particularly young women, simply for enjoying the genre. Is it challenging those perceptions?
BU-WAN: I think with any fandom or anything that’s popular in the world, there’s always going to be negative stereotypes attached to it.
Personally, I think judging someone for liking something you don’t agree with is wack as fuck. It’s just lame behaviour. If someone enjoys K-pop, who cares? Let them enjoy it.
Of course, I also think there are fans who take things way too far and hide behind their computers to be nasty to other people, which is just as cringe.
But when it comes to attacking K-pop fans, especially young women, I think it’s completely unfair. If they’re not hurting you and what they’re doing has absolutely nothing to do with how your life is going, why are you so bothered by it?
At the end of the day, anti-K-pop isn’t about being against K-pop or the people who enjoy it. It’s about challenging the expectations surrounding the genre, not attacking the fans who love it.
When speaking of curating an anti-K-pop playlist, is that to highlight those in the field that have the sounds you speak of above? Are you hoping to showcase those artists working within that space already?
BU-WAN: I think I’ll add any artists whose music I feel aligns with what anti-kpop represents, but I’d also love to see it grow into something bigger than just my own interpretation of it.
Ideally, I’d love for artists to discover it and identify with it themselves. I don’t want to be the person deciding who belongs in anti-K-pop and who doesn’t. I think it would be much more exciting to see artists embrace it on their own terms and contribute to what it eventually becomes.
I imagine for artists outside the traditional K-pop industry, it is harder to break free from the assumption that a Korean artist is somehow tied to or put in K-pop playlists. How frustrating is it for those working, say, R&B/hip-hop, establishing their own identity?
BU-WAN: As someone who’s labeled music as K-R&B myself, I honestly think we need to move away from calling it that because I think it does more harm than good.
With the newfound global love for K-pop, I think it became really easy for artists to jump on that bandwagon, myself included. But it’s a double-edged sword. On one hand, it gave Korean artists more visibility and opportunities to reach new audiences. On the other hand, it ended up boxing us into another category.
I think that’s where it gets frustrating. Just because an artist is Korean and makes R&B or hip-hop doesn’t necessarily mean their music needs its own separate label. At what point do we stop defining artists by their ethnicity and start recognising them for the music they’re actually making?
Finally, what does the rest of the year have in store?
BU-WAN: I’m going to start releasing clips of my upcoming singles and reintroducing myself to the world.
Lately, I’ve been really focused on creating content and finding different ways to keep my community entertained, but at this point, I’m honestly just ready to get back on stage, play more shows, and meet everyone in person.
I’m also currently working on a brand with one of my brothers called MOTHERLAND MILITIA, and we’re super excited to show everyone our first collection, which is tied to the KPOP IDOL album.
There’s a lot I’ve been working on behind the scenes, and I’m really looking forward to finally sharing it all.
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