On March 7, Jennie presented her first solo studio album “Ruby” which marked a decisive moment in its artistic evolution. Crossing inspiration from Shakespeare’s “As You Like It”, the album deepens themes of birth, love, faith and achievement of its peak. The iconic line, “The world is a stage and all men and women simply players”, It serves as a basis for the concept of the album, which reflects Jennie’s journey in The Limelight.
By understanding 15 tracks, “Ruby” opens with “Intro: Jane with Fkj” and ends with “Twin”. At its center there is the trace of the title, “Like Jennie”, an audacious declaration of trust and individuality. Through the razor’s nest lyricism and the adamable swagger, Jennie reiterates that no one else can take his place-non-not he is apologically herself, forging her path.
An extraordinary feature of “Like Jennie” is his electrifying delivery of rap, a testimony of Jennie’s raw talent. Before leaving the album, he made fun of fans with traces such as “Mantra” and “Love Hangover”, both bringing a more mainstream charm. However, just before the entire album had fallen, he revealed “ExtraL”, a hip-hop hymn that gave tone to the direction without fear of the album. “Like Jennie” follows the example, preparing an unforgettable punch in just 2 minutes and 4 seconds, turning on the album with untreated energy.
The music video, released together with the album, brings the spectators on a visually stunning journey while Jennie fights against artificial narratives and manufactured identities, eventually claiming his true self. With a bold style, surprising cinematography and commanding shows, fascinates the public, strengthening its status of global trendsetter.
Beyond his fearless attitude, “Ruby” boasts an impressive list of collaborations, with international heavyweights such as Childish Gambino, Doechii, Dominic Fike, Dua Lipa, Fkj and Kali Uchis. Yet, despite its global charm, the album remains deeply rooted in the Korean rap section of “Like Jennie” of “Like Jennie”. While his introduction and hook are in English, Jennie’s verses offer pungent Korean jokes like “Yes, I’m guilty – I’m a sinner to be so big?”further cementing his unique voice in the sector.
Jennie’s artistic vision extends beyond music. Traces like “Seoul City” pay homage to its roots, while the music video of “Zen” integrates the traditional Korean aesthetic. It stories in ensemble gifts inspired by the golden crowns of the Cheonmachong tomb of the Silla dynasty, and its intricate hairstyles are designed by the historic “Gatchae” of Korea (a large elaborate wig worn by furniture) and “tteoljam” (a type of ornamental hair with the decorations traveled), processed in order to block with furniture.
By expanding his creative horizons without losing sight of his identity, Jennie proves once again because he is more dazzling “Ruby” than k-pop-a gem that he refuses to be confined, shining more bright than ever.
