(Photo : The Music Entertainment) Nearlyin an instant subsequently arriving at the Colden Auditorium in Queens on Saturday night, I realized that the demographic for the crowd used to beother than the standard New York City-area K-pop show.
The target marketbecome older and unmistakably absent of many world fans. It was a Korean event, with myself and two other attendees the sole ones around no longertalking Korean with ease.
In fact, the MC for the eveningdid not even troublecommunicating English whilst he entertained the early crowd with the Korean edition of rock paper scissors. He was most likelypositive that there were best Korean speakers in the audience.
But the loss of catering to an English-speaking crowd done by way of other Korean pop acts who have conducted in New York is fair while youimagine that the headliners aren'tthe fashionable techno dance track pop singers that dominate the genre currently.
Instead, Kim Tae Woo and Gummy are K-pop stars of a various sound and a the several era.
Kim Tae Woo, who entered the degreedressed ina grey suit and sunglasses, drew a wide roar from the crowd. He'sa guythis is used to the attention, as he was a member of one of the mostusual K-pop groups, g.o.d. He has the swagger of a existing K-pop idol, in spite of being in his past due 30s and significantly over the hill in comparison toa lot of the baby-faced stars dominating the Korean music scene as of late.
He commands attention your complete night, repeatedlyattractive the crowd with games, jokes, and a different fan serenade that gave one fortunateladythe riskto sit down down in his proximity and watch him as he belted an upbeat love song in her direction.
Gummy, who was wearing a sublime black get dressed and stellar prime heels, at the other hand, was less inquisitive about pandering - and after all, why will have to she? Her voice was the special treat of the evening, with power, soul, and a breathy emotional expression that'scertain to be the envy of all who want toapply in her footsteps. In fact, the songs she preformed were most commonlynow not her own, suggesting that she was not there to advertise herself or garner attention for her maximumcontemporary album.
Her functionality reminded the crowd in theirbeyond and gave them the likelihood to revel in IT in a position where Korean language occasions are slightly few and a ways between.
Kim Tae Woo and Gummy's contrast as artists were highlighted over the process the concert, with either artists gambling to their strengths. Gummy's soulful voice left a lasting impact, as she spent her hour of solo songs excited about ballads. Meanwhile, Kim Tae Woo was all about the applause, the cheers, and the power - reminiscent and simultaneously pointed toward what K-pop is set today.
In that way, Kim Tae Woo and Gummy's concert in New York was an expertise of the past - ballads and emotional deep-dives which are exemplified in the older generation of Korean folks - and an ride of what K-pop has transform - entertainment, happiness, and pay attention on feel-good feelings every bit a recipe for the historic aches that are unnamable.
Audience participants cheered, shed tears, and laughed their way via3 hours of music and entertaining engagement with the crowd. While as a non-Korean fan it was tough to in realitysnatch the which meansin the back of an matchsubsidized by one of the single Korean-language radio systems in the hot York area, it was a transparent and provide example of the ability of music in the consistentlyconverting Korean culture.
That is to say, Gummy and Kim Tae Woo, although they paintings in two apparently unlike styles for music, are similarlyvital to the figuring out of what was and what is going to exist in the arena of K-pop.
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