BTS Strive to Redefine Themselves in “Arirang”
Key takeaways
Quick summary- 1[https://seoulbeats.com/wp-content/uploads/2026/03/20260329_Seoulbeats_BTS_Arirang-300x297.png]BTS faced overwhelming pressure as they prepared to return from…
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BTS
faced overwhelming pressure as they prepared to return from a four-year hiatus, from fans hungry for new music, to media outlets questioning their current relevance, to Hybe holding expectations for commercial success. Not long after RM, V, Jimin, Jungkook, and Suga were discharged from military service, BTS
flew to Los Angeles for a few months of song camps, under time constraints to produce an album by spring of 2026. This was a daunting task. In their Netflix documentary BTS
: The Return, RM commented that there are “no references” for this stage in their career, entering a second, post-military phase with intense scrutiny from around the world. However, their return also presented an opportunity to redefine themselves in this new chapter. As Jimin stated to Jungkook in another portion of the documentary, “If we want change, now is the time to do it.”
And so BTS
has responded to this moment in their careers by making choices that confound expectations. Fundamentally, their 14-track album Arirang is about BTS
’s effort to expand their musical repertoire while also grappling with who they are as the most prominent Korean artists in the global music scene, as well as how to be understood on their own terms.
Arirang’s mix of hip hop, R&B, and pop feels reminiscent of BTS
’s past works like Dark & Wild, but the album also explores new directions in line with global trends. Working with Western producers including Ryan Tedder, Diplo, Mike Will Made It, Jpegmafia, and Kevin Parker opened up new sonic territory, from the grungy, reverb-heavy alternative rock of “Like Animals” to the distorted Jersey club beats of “FYA.” Arirang also thrills with some of BTS
’s most experimental, layered production. “Hooligan,” for example, stacks the sound of sharpening knives, spliced classical samples, and J-Hope’s and RM’s menacingly staccato laughs. The refrain of the song declares “Watch this, watch this beat goin’ hooligan,” emphasizing the defiant energy of BTS
’ new music.
The album’s vocal performances match its sonic ambition, featuring different vocal styles than BTS
has displayed previously. In the past, main producer PDogg pushed the vocalists to reach higher and higher notes in songs like “Fake Love”. In Arirang, however, the vocal line utilizes a wider range. For example, “They Don’t Know ‘Bout Us” features stacked vocals, with Jimin’s lower register at the forefront. “2.0” particularly displays new vocal styles, with the clipped, rhythmic delivery illustrating the song’s themes of BTS
entering a new era. Throughout Arirang, the lines are also distributed fairly equally among members, highlighting V’s rich baritone and Jin’s strong, resonant tone. The rap line members even sing extensively, such as Suga leading off the second verse of “Swim.”
The title Arirang, referring to Korea’s national folk song, may have conjured expectations of returning to Korean lyrics and embracing traditional cultural influences, much in the way songs like “Ddaeng” or “Daechwita” or performances of “Idol” did. Album opener “Body to Body” feels in line with these earlier songs that proudly revel in Korean heritage. With RM declaring, “I need the whole stadium to jump” over heavy bass and an infectious beat, the track positions BTS
’ return as a celebration. During the transition to bridge, BTS
’ vocalists layer with folk singers, their voices gradually building until the chorus of “Arirang” emerges at full volume. The song draws on the folk song’s vast emotional spectrum, expressing both love and the regrets of separation. Within “Body to Body,” “Arirang” conveys the longing BTS
felt during their absence, and when the beat drops back in the outro, it feels like closing the gap of that separation.
“No. 29,” serving as an interlude in the middle of the album, contrasts sharply with the maximalism of “Body to Body”. “No. 29” consists of a single ring of the Sacred Bell of the Great King Seongdeok, lasting until all vibrations from the bell completely fade away. The bell’s lingering reverberation can symbolize the far reach of Korea’s soft power—of which BTS
is a key contributor.
However, the only overt references to Korean tradition are in “Body to Body” and “No. 29”. Meanwhile, English lyrics dominate the album. Even the title track, “Swim,” is sung entirely in English, and its mellow groove and simple hook subvert the K-pop industry’s expectation of a high-energy lead single accompanied by intense choreography. These choices have led detractors to question how “authentically Korean” the album actually is.
But the album is not only titled Arirang because it seeks to foreground BTS
’ Korean heritage. The song “Arirang” carries multiple meanings, like separation, longing, endurance, and love — and the album draws on many of them. For instance, the relaxed pace and sincere lyrics of “Swim” encourage the listener to persevere. Other tracks like “One More Night” and “Please” reflect yearning and desire for connection. “Into the Sun,” whose vocoder-laden verses ascend to a soaring outro of “I’ll follow you into the sun,” ends the album by embracing love and connection. In this way, Arirang uses its title not as proof of cultural credentials, but as an emotional framework for the entire album.
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In addition to the themes implied in its namesake, Arirang focuses on BTS
navigating their fame. Still, some lyrics on songs about this subject remain broadly relatable. The atmospheric and melancholic “Merry Go Round,” for example, depicts a life with “every day the same routine” that can resonate with many people in other contexts.
Much of the album, however, speaks specifically about BTS
’ collective experiences. The Ryan Tedder-produced pop rock anthem “Normal” is a raw depiction of their complicated relationship with celebrity status. The vocal line emotively sing about a fast-paced life that is “kerosene, dopamine, chemical induced” and lament, “Wish I had a minute just to turn me off.” The heightened experiences they have as a result of fame aren’t normal, but BTS
feel the dissonance of them becoming normalized. In the first verse, Jimin’s line “Heavy is the head when you chasin’ true” plays off the truism “Heavy is the head that wears the crown,” expressing the burden of living authentically while in the public eye.
“They Don’t Know ‘Bout Us” further challenges the misperceptions that people have about BTS
. Specifically, in J-Hope’s seemingly laid-back melodic rap, he counters the notions that BTS
are “special among Asians,” or “some kinda heroic beings, too hard to break.” J-Hope’s verse challenges the mythology surrounding BTS
, insisting that they are not heroes, but “just seven people” trying to remain themselves despite other people’s assumptions.
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“Aliens” confronts the xenophobia that BTS
has experienced by reclaiming the term as a source of pride rather than shame. Suga’s sharply delivered first verse calls out the “civilians” who are “green with jealousy.” The chorus issues an unhesitating command: “If you wanna hit my house, shoes off at the door.” The line underscores that cultural respect is non-negotiable and BTS
will not be the ones to compromise. “Aliens” further underscores its message in its trap beats, which evoke the “jungmori rhythm” that J-Hope calls listeners to move to. While on much of the album they seek to be understood, “Aliens” displays BTS
at their most powerful and confident.
Arirang is BTS
’ effort to answer back to other people’s assumptions of what they represent and what they owe their audience. Some of its choices will inevitably divide listeners, but it mostly succeeds in maintaining BTS
’ authentic emotional core. At its best, Arirang captures BTS
in this moment: seven Korean men entering a new phase of life, navigating who they are now, and figuring out who they want to be next.
(YouTube. Netflix: [1][2]. Substack. Instagram. Lyrics via Apple Music: [1][2][3][4]. Images via BigHit Entertainment).
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