KPOP IN BAY AREA

GIRLSET’s “Little Miss” music video, released November 13, 2025, for their debut album SET THE STAGE , is a fierce pop-rock rebellion against perfection. The four members—Lexi, Camila, Kendall, and Savanna—shatter doll-like ideals in a mirrored mansion, trading white gowns for leather amid broken glass and confetti. Sharp choreography, bold raps, and a fiery chorus (“Little Miss, but I’m a mess”) drive the high-fashion visual, ending in a tiara-burning climax that celebrates

The music video for Jessi’s “Girls Like Me,” released on November 12, 2025, as the title track of her third mini-album P.M.S. (PRETTY MOOD SWINGS) under UNNI Company, is a bold and visually arresting showcase of unapologetic confidence and fierce femininity, blending futuristic glamour with gritty urban edge. Directed with a high-octane hip-hop flair, the video opens in a sleek, white-toned sci-fi set where Jessi commands the screen in sexy, metallic outfits and striking pose

The music video for ITZY’s “Tunnel Vision,” released on November 10, 2025, as the title track of their mini-album of the same name under JYP Entertainment, is a visually explosive and empowering journey through sensory overload and unyielding focus, filmed against the stunning gothic architecture of Prague, Czech Republic. Directed with a cinematic edge, the video features the five members—Yeji, Lia, Ryujin, Chaeryeong, and Yuna—channeling fierce determination in a surreal, h

The music video for FIFTY FIFTY’s “Skittlez,” released on November 9, 2025, as the B-side visual from their third digital single Too Much Part 1 under ATTRAKT, is a quirky and vibrant explosion of colorful chaos that embodies the track’s hip-hop-infused pop energy and playful seduction. Directed with a fun, retro-candy aesthetic, the video follows the five members—Keena, Chanelle, Yewon, Hana, and Athena—as flirtatious "sweet temptresses" in a whimsical candy factory turned g

The music video for FIFTY FIFTY’s “Eeny Meeny Miny Moe” (가위바위보), released on November 4, 2025, as the title track of their third digital single Too Much Part 1 under ATTRAKT, is a playful and empowering game of chance that captures the thrill of romantic uncertainty with vibrant, whimsical energy. Directed with a bold, rhythmic density that amps up the group’s signature bubblegum pop sound—featuring dense beats, addictive “ba ba ba badam” hooks, and a fusion of hip-hop flair

The music video for KISS OF LIFE’s “Lucky,” released on November 5, 2025, as the title track of their first Japanese mini-album TOKYO MISSION START, is a vibrant and confident celebration of serendipitous encounters and urban adventure, set against the bustling energy of Tokyo’s iconic streets. Directed to mark their Japanese debut under S2 Entertainment, the video follows the four members—Julie, Natty, Belle, and Haneul—as undercover "agents" on a playful "mission" to spread